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Same-sex kiss restored in Disney-Pixar ‘Lightyear’ after employee outrage

A group of LGBTQ+ Pixar employees accused Disney of barring moments of gay affection from movies before they are released

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Screenshot from Disney Pixar Lightyear Trailer

BURBANK – After being cut, the Disney-Pixar film “Lightyear” will again include a same-sex kiss amid employee outrage over the decision to drop the scene. 

Variety reported that a source close to the movie’s production said the kiss between two female characters – including Hawthorne, voiced by Uzo Aduba – was reinstated into the movie last week. While Hawthorne’s relationship was never in question at the studio, a kiss between them had been cut from the film.

The report comes after a letter from a group of LGBTQ+ Pixar employees and their allies accused Disney executives of barring moments of gay affection from movies before they are released.

“We at Pixar have personally witnessed beautiful stories, full of diverse characters, come back from Disney corporate reviews shaved down to crumbs of what they once were,” read the letter, first reported by Judd Legum of Popular Information. “Nearly every moment of overtly gay affection is cut at Disney’s behest regardless of when there is protest from both the creative teams and executive leadership at Pixar. Even if creating LGBTQIA+ content was the answer to fixing the discriminatory legislation in the world, we are being barred from creating it.”

The statement was in response to Disney CEO Bob Chapek’s answer to Florida’s so-called “Don’t Say Gay” bill, which many viewed as muted. 

After widespread criticism for declining to speak out against the legislation, Chapek ultimately apologized, publicly opposed the measure, paused all political donations in Florida and urged Republican Gov. Ron DeSantis to reject the bill in a phone call.

“I truly believe we are an infinitely better and stronger company because of our LGBTQ+ community. I missed the mark in this case but am an ally you can count on—and I will be an outspoken champion for the protections, visibility, and opportunity you deserve,” he said in a memo to the company’s LGBTQ+ and ally employees.

The Florida Senate passed H.B. 1557 at the beginning of the month, sending it to the desk of DeSantis, who has signaled support for the legislation. DeSantis has yet to take action on the bill. 

The measure, titled “Parental Rights in Education,” would ban classroom instruction about sexual orientation and gender identity in grades K-3, while “age-appropriate” teaching would be allowed in older grades – though it is not clear what is considered “age-appropriate.” 

Last week, Disney’s LGBTQ+ employees began staging walkouts on their breaks to protest what they view as a “lame” and “inadequate” stance taken by the company, even after Chapek’s apology. A mass walkout of LGBTQ+ employees and allies is slated for Tuesday.

“You are protected to act while on break for the daily break walkouts, but the full scale walkout that will take place on Tuesday March 22nd is not a legally protected action. Take your own situation into account before choosing to participate,” organizers noted. 

A same-sex kiss would be a major step forward for LGBTQ+ representation in Disney-Pixar films. “Onward,” released in 2020, featured a lesbian police officer voiced by Lena Waithe – lading the film to be banned in Kuwait, Oman, Qatar and Saudi Arabia. However, Slate reported that “the most revolutionary thing that Pixar has done in advance of the movie’s release is not tell anyone about it.”

“Lightyear,” starring the voice of Chris Evans, will hit theaters in June.

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Lightyear | Official Trailer:

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‘Everything Everywhere’ does the multiverse right

Quirky film boosted by Jamie Lee Curtis’s ‘feud’ with Marvel

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Ke Huy Quan, Jamie Lee Curtis, and Michelle Yeoh star in ‘Everything Everywhere All at Once.’ (Photo courtesy of A24)

Last weekend, the Marvel Studios blockbuster machine unleashed its latest piece of cinematic eye-and-brain candy, “Dr. Strange and the Multiverse of Madness,” in which the titular hero traverses multiple versions of reality to save the universe from chaos and destruction.

Marvel, of course, didn’t invent the concept of the “multiverse” – in fact, they’re not even the first ones to release a movie about it this year; another multiverse film beat “Dr. Strange” into theaters by nearly six weeks – and it’s been enjoying a slow, word-of-mouth-fueled juggernaut of box office success ever since.

That movie, a genre-bending indie production titled “Everything Everywhere All at Once,” caused a bemusing stir on social media last week, when Jamie Lee Curtis (one of its stars) launched a tongue-in-cheek feud with “Dr. Strange” in a string of Instagram posts. It was all in fun, but one couldn’t help recognizing a sense of authentic pride when she teased, among other things, that her film “out marvels any Marvel movie they put out there.”

Perspective is everything, of course, but she’s not wrong. While Marvel fans will undoubtedly find “Dr. Strange” a satisfying trip into the multiverse and back, the rest of us would do well to seek out “Everything Everywhere All at Once” while it’s still on the big screen – and yes, that even applies to people who couldn’t care less about any universe but this one.

Conceived, written and directed by Dan Kwan and Daniel Scheinert (collectively known as “Daniels” since their early career directing music videos), it’s a fast-paced wild ride that begins in one of the most mundane realities imaginable – the life of a middle-aged Chinese-American immigrant named Evelyn (Michelle Yeoh), who operates a laundromat with her mild-mannered husband Waymond (Ke Huy Quan), endures strained relationships with her elderly father Gong Gong (James Hong) and her lesbian Gen Z daughter Joy (Stephanie Hsu), and faces a tax audit – conducted by a humorless and hostile IRS agent (Curtis) – which could bankrupt the family business. This stressful quotidian mix is suddenly disrupted when a visitor appears, claiming to be from another universe, and tells her that a powerful evil being has undertaken a sinister plot that threatens to destroy not just his universe and her universe, but all the universes. Further, he informs her that she is the only person in ANY universe who has a chance of defeating this malevolent force in battle. Needless to say, she is hesitant to believe him – but it’s not long before she is leaping from timeline to timeline as an unlikely inter-dimensional warrior on a mission to save existence itself from annihilation.

At the risk of making a spoiler-ish statement, that mission turns out to be as absurd as it is apocalyptic. The Daniels’ film – which had been baking in their heads since 2010 – has no desire to ply its audiences with high-tech wizard battles in outer space or any of the other tropes of the sci-fi adventures it simultaneously spoofs and salutes; instead, it draws on a long tradition of existentialist thinking – something that, for obvious reasons, goes hand-in-hand with stories about existing in a reality full of infinite possibilities that all lead to oblivion – to accentuate the ridiculous. One of the worlds we visit, for example, is populated by human beings who have hot dogs for fingers, and that’s just the most blatant of the many delicious absurdities the film serves up. It makes for a lot of laughs, but it nevertheless sets us to ponder the implications of infinite possibility we concoct within our own imaginations.

To that end, “Everything” balances its quirky, surrealist humor by showing us a few more plausible universes, as well. To gain the skills necessary to defeat her nemesis, Evelyn must visit other versions of her life; she experiences herself as a movie star in martial arts films, or a skilled hibachi chef, or a world-class opera singer, and visiting these realities drives home the point that one small decision – like choosing whether to marry someone or not – can divert our path toward a vastly different lifetime. We see the power of the past to shape our future, for better or for worse, through empowerment or regret, and the power in ourselves to change a multitude of worlds with a single choice. Inevitably, too, we see the nihilistic despair that comes of recognizing one’s insignificance in the face of a vast and seemingly uncaring universe; what’s the point of living in a world of infinite potential outcomes if none of those outcomes matter?

If that all sounds a little too philosophical for your tastes, don’t worry; Kwan and Scheinert pull off the rare feat of encompassing these speculative issues within a story that is not only relatable, but wildly entertaining – and a lot of it has to do with the cast of avengers they’ve assembled.

First and foremost is Yeoh, whose status as a martial arts screen icon is just one of the strengths she brings to the table; her performance is a career-topping triumph in which she commits to making the beleaguered, unremarkable Evelyn palpably and painfully human even when immersed in the most outrageous of circumstances, and in the process gives us the kick-ass heroine for the ages we never knew we needed. As her put-upon husband, Quan is an invaluable asset; the former child actor (who appeared in “Indiana Jones and the Temple of Doom” and “The Goonies” before moving behind the camera for a career as a sought-after stunt coordinator) brings his own history to the mix, too, and brings us an entire array of Waymonds, all manifesting different flavors of his irresistible underdog charm. Hsu contains multitudes as Joy – no spoilers, but her troubled relationship with her mom is not limited to this universe – and screen veteran Hong is full of surprises as Gong Gong. Finally, Curtis uses the various iterations of her frumpy tax accountant to turn her supporting role into a scene-stealing audience favorite.

The fun these performers clearly have with their roles goes a long way toward keeping things light, no small accomplishment in a brainy cinematic excursion like this one. More importantly, they seem to fully understand and embrace what this madcap sci-fi comedy caper is really all about – and that makes all the difference, because “Everything Everywhere All at Once” may be an action-packed adventure dealing in the same epic conceptual scale as “Dr. Strange,” but it’s less concerned with titanic battles and cosmic catastrophes than it is with the very small, very ordinary concerns of everyday human life. Sure, it exploits the multiverse as a plot device to enable its imaginative and far-fetched flights of fancy, and it does so with relish, but it ultimately uses it to remind us – gently, and without laying it on too thick – that we have the power to change our reality with every choice we make.

The fact that it delivers that message in a story that puts Asian and queer characters front-and-center is just another great reason to call this disarmingly oddball movie the brightest gem of the season.

Well, that and the hot dog fingers.

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Hulu’s joyful ‘Crush’

New film solidifies 2022’s status as banner year for queer representation

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Auliʻi Cravalho and Rowan Blanchard in ‘Crush.’ (Photo courtesy Hulu)

It’s only May, and already 2022 is shaping up to be one of the queerest years on record when it comes to film.

It’s certainly a breath of fresh air, particularly in a cultural environment marked by increased and aggressive anti-LGBTQ sentiment from the eternally bigoted social and religious conservatives of the extreme right, and while it’s impossible to ignore (and unwise to disregard) their rhetoric and their thinly veiled authoritarian attempts to legislate us out of existence, we have every right to take a moment to enjoy the fact that we live in a time when queer lives and queer stories can grace our screens without portraying us as victims, villains, freaks, degenerates or worse.

What’s even more gratifying – and definitely a step in the right direction – is the increased diversity on display in these queer stories. Where once most of us had to settle for mostly seeing gay men (usually white) as stand-ins for our entire community, we’re now getting a growing number of movies that place the focus on the other colors of our rainbow, and it’s a welcome reminder of the beauty that exists in acknowledging and accepting the experiences of everyone.

Consider, for instance, “Crush,” Hulu’s newest entry to the LGBTQ teen romance genre, which started streaming on April 29, and puts a lesbian love story in the spotlight.

It’s true that, in an era before LGBTQ characters could be brought to the screen with the freedom and genuine lived experience that makes today’s queer movies feel so authentic, women in love – or at least, in lust – with each other were often seen as “acceptable” in mainstream cinema. While we had lesbian stories, however, those stories were almost always told by men, and straight men at that, leaving us with romanticized (or more accurately, fetishized) depictions that were hopelessly tainted by the male gaze. While movies like “Basic Instinct” and “Bound” may have been successful films that brought queer women into the public eye, they can scarcely be said to have presented a positive or even relatable image in which any real-life lesbian viewers might be able to recognize themselves.

Nothing could be further than the case in “Crush,” a film with the advantage of having actual women building it from the ground up. Directed by Sammi Cohen (making her feature directorial debut) from a screenplay by Kirsten King and Casey Rackham, it’s the story of Paige (Rowan Blanchard), a freshly out high-schooler with a passion and a talent for art. Though she has no interest in sports, she impulsively joins the school’s track team in a bid to get closer to the beautiful and popular Gabriela (Isabella Ferreira), the team’s co-captain, on whom she has harbored a longtime crush. She knows nothing about track, however, so the team’s coach (Aasif Mandvi) assigns her to Gabriela’s twin sister AJ ( Auliʻi Cravalho) for training. As their friendship grows, she begins to develop unexpected feelings – a situation complicated by the threat of potential suspension over mistaken accusations of vandalism due to a wave of anonymous graffiti art that has been appearing all over the campus. Desperate to find the real culprit, Paige enlists AJ to help solve the mystery and clear her name, and soon finds herself facing a dilemma over which of the two sisters she really wants to pursue.

Written by King and Rackham with the deliberate intention of capturing the joy of growing up queer rather than usual turmoil and trauma that accompanies so many LGBTQ coming-of age stories, the pair were inspired by their own life experiences. Cohen, drawn to the project for similar reasons, directs the film with an eye toward bringing that all-too-rare positivity to the screen, and the result is an upbeat, infectiously happy tale of young love that should, as a perhaps ironic consequence, be eminently relatable to a mainstream (i.e. non-queer) audience, too. Yes, there is some drama – choosing between multiple crushes is hard, after all, and the threat of punishment over something you didn’t do is enough to turn any teenage life into a Hitchcockian suspense – but none of it ever seems to dim the brightness that shines straight from the movie’s proud heart.

Equal share of credit for that irresistible optimism is due to the authenticity of a young cast that seems, above all, to be having a lot of fun; Blanchard and Cravalho establish a charming chemistry from their first moments together onscreen, which keeps us rooting for the inevitable outcome even when they can’t yet see it, and Ferreira plays against the stereotype of the ”popular girl” to create a gracious, genuinely lovely persona that makes it easy to see why anyone would have a crush on her. Tyler Alvarez and Teala Dunn, as a couple who are Paige’s best friends and sidekicks, are engaging and well-drawn enough to keep them from being simply a token “straight couple,” and Megan Mullally proves once more why she’s not only a queer icon but a national treasure as Paige’s libido-driven mother, ravenously pursuing her daughter’s track coach in an amusing reversal of pursuer/pursued gender roles that will keep the grown-ups chuckling, too.

That’s fortunate, because “Crush,” like many comedies aimed at teens, sidelines its adult characters and relies on them mostly for comic relief, and while younger viewers may be engrossed, the movie admittedly eschews sophisticated nuance in exploring the emotional ups and downs of its romantic triangle. Likewise, in choosing to set this lesbian love story in an environment where queerness is normalized and acceptance is seemingly universal, it provides a welcome template for the world we want to see (not to mention the invaluable contribution of giving young LGBTQ+ people the positive representation they so desperately need), the non-existence of homophobia it presents will inevitably be a bit beyond the capacity of some adult viewers to willingly suspend their disbelief.

“Crush” is a movie that is determined to MAKE us believe, however, and to show us what life could be like for our children if we did. Thanks to its unmistakable sincerity and unshakable good will, it goes a long way toward succeeding.

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‘Firebird’ soars with tale of love during Cold War

A timely film exploring anti-LGBTQ oppression in Russia

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Tom Prior and Oleg Zagorodinii star in ‘Firebird.’ (Photo courtesy Roadside Attractions)

Once in a while, current events and the release of a particular movie seem to coincide as if by fate. “Casablanca,” for instance, considered by its studio to be an unremarkable melodrama with limited box office appeal, was rushed into an early release to capitalize on the Allied invasion of North Africa, which took place in late 1942. The rest, of course, is history.

A similar twist of fateful timing surrounds “Firebird,” a UK-made gay romance set on a Soviet air base during the Cold War, as it goes into its official U.S. theatrical release on April 29. Based on a memoir by Sergey Fetisov, it’s a true story that not only resonates with the oppressive state of LGBTQ rights in modern-day Russia – a key factor in why the film was made in the first place – but that may pique the interest of American moviegoers thanks to the ongoing Russian invasion of Ukraine.

“Firebird” – co-adapted for the screen by Estonian-born filmmaker Peeter Rebane and British actor Tom Prior, who direct and star, respectively – begins in the late 1970s as Sergey (Prior), a private in the Soviet Air Force with dreams of going to Moscow and becoming an actor, is eagerly counting down the days until the end of his military service. His life is suddenly changed irrevocably with the arrival of Roman (Oleg Zagorodinii), an ace fighter pilot newly stationed to the base; handsome, cultured, and approachable, the new officer immediately draws the attention of both Sergey and his close friend Luisa (Diana Pozharskaya), the Base Commander’s secretary – but it is with Sergey that he makes the deeper connection, and the two quickly become lovers. 

Communist prohibitions against homosexuality are severe, however, especially for men in uniform, and even Ramon’s position of privilege is not enough to shield them from the ever-watchful eyes of their superiors. With his career and his freedom on the line, Roman initially breaks things off with Sergey, and even enters a sham marriage with the oblivious Luisa. But the love between them proves too strong to resist, and their star-crossed affair endures for years – despite the grim consequences they face should they be found out.

Tales of oppression such as this have never been in short supply in queer cinema. After all, movies, like any art, are an expression of real life, and therefore the unavoidable specter of the closet has loomed large over LGBTQ movies over the years. As a result, there are quite a few viewers out there who feel as if they have seen more than enough homophobia and heartbreak on their screens to last a lifetime. For such individuals, a movie like “Firebird” might be a hard sell.

Still, nostalgia is a powerful force, capable of bathing the past in a warm glow that softens harsh realities while making our happy memories even happier than we remember, and Rebane’s movie uses it to great advantage. The director infuses his lovingly recreated period setting not only with an eye-catching attention to detail, but with a lush and picturesque atmosphere that stimulates our fondest memories – or fantasies – as much as it does our appreciation for the retro Eastern Bloc aesthetic. The central romance stokes our idealized scenarios of illicit love at first sight, capturing that breathless blend of tenderness and red-hot sexual chemistry as well as the thrilling fear of discovery that somehow makes being together even more irresistible; we are plied, by scenes of furtive after-hours love-making and idyllic, sun-soaked scenes trysts by the sea, into believing that these handsome young lovers will somehow make it all work out.

The impossibility of their situation, of course, catches up to them eventually, and though the homophobia that surrounds them has been inescapable all along, it’s at this point the movie truly begins to explore its more subtle effects. Fear of it hangs over their relationship, and its poison spreads like a virus to anyone who becomes entangled in their life together; one of the film’s most powerful touches is the compassion it affords for Luisa, who may be an unknowing participant in the forced charade of their life together, but who suffers for it, nonetheless. It’s an all-too-rare reminder that repressive homophobia ruins heterosexual lives, too.

Indeed, compassion lies at the heart of “Firebird” and keeps it from being just another pretty-but-bittersweet gay love story from a bygone era. Rebane has said he was inspired to make the film by the resurgence of attacks against “basic human rights, equality and freedom” around the world, and particularly by the discrimination and repression experienced in many countries by LGBTQ individuals and families. In telling the real-life story of Sergey (who died in 2017, shortly after participating in extensive interviews with the filmmakers), he hoped to “foster more respect for one universal human right: to love and be loved.”

Now, with Russia’s aggression in Ukraine dominating world headlines, Rebane has reasserted his film’s purpose as a vehicle for raising awareness about the country’s “long history of persecuting LGBTQIA+ people and any of those voicing dissent to their authoritarian regime” by teaming with global advocacy group All Out, in support of their work in aiding queer refugees from Ukraine and fostering “meaningful dialogue” about Russia’s anti-LGBTQ policies.

Still, activist sentiment aside, “Firebird” is not political, but rather emphasizes the determination of a same-sex couple to exist, to survive despite suffering even within the most repressive of societies. In accomplishing that, it keeps its focus more on matters of the heart than on matters of state, something facilitated by its skillful cast – particularly Prior, whose appeal as Sergey runs far deeper than his youthful looks, and whose performance wears its heart on its sleeve without ever feeling overtly sentimental.

It’s perhaps because of this as much as its period setting that “Firebird” feels a bit like a throwback to a bygone era. Awash in stylish nostalgia, it seems like something seen from a distance, more felt than lived, more dreamed than experienced. That’s not a bad thing; it’s an aura that lends a calming effect, cushioning the emotional blows we know are sure to come, and gives the movie a sense of emotional balance that prevents it from becoming a tearjerker. At the same time, it also brings a sort of perfunctory quality to the events of the story, as though we are watching a carefully arranged row of dominoes fall, which occasionally threatens to undermine the impact of the draconian cultural oppression faced by its characters by reducing it to a mere plot device.

Nevertheless, it’s appropriate enough for a queer love story to feel a bit like a campy Hollywood classic, even when it has a political conscience. “Casablanca” raised awareness for the plight of refugees fleeing war-torn Europe, but it gave us Rick and Ilsa, too; and while it’s perhaps unlikely that “Firebird” will achieve the same status as that venerable masterpiece, its noble intentions and its unapologetic belief in love make it more than deserving of your attention.

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