¿Dónde está, oh muerte, tu aguijón? ¿Dónde, oh sepulcro, tu victoria?
Hermanos míos amados, estad firmes y constantes, creciendo en la obra del Señor siempre, sabiendo que vuestro trabajo en el Señor no es en vano.
Timon and Pumbaa are TLK's Rosencrantz and Guildenstern. Their function in the story is to turn Simba (Hamlet) into an effeminate wastrel and lead him into spiritual death (or in the case of the source material, physical death).
Simba doesn't self-actualize until he realizes that his purpose is to embody the Father/Warrior-King archetype, and he abandons the duo's philosophy of comfort and degeneration, embracing struggle and hardship for the sake of others.
"Hakuna Matata" isn't the key to happiness, but the chains by which Simba is enslaved to perpetual childhood. It's a blindfold that prevents Simba from confronting and processing the death of his father, which prevents him from ever becoming a ma-... lion.
Holding up Timon and Pumbaa as positive role-models is about the most egregious sin against media literacy you can commit.
Compatriotas, tengo dos noticias para darles, una buena y una mala:
La mala es que somos nosotros contra los que gobiernan el mundo
La buena es que somos nosotros
Hola amigos. Como en las últimas ocasiones, les comparto el trailer que armé de cara a la final del domingo. Me tomé el atrevimiento de experimentar con una voz de lujo, que relata mejor que nadie la fábula del eterno pibe amateur.
Espero que lo disfruten y vamos Argentina.
For all the people whining that critiques of Nolan's Odyssey are just chuds trying to stay mad about ancient texts being modernized...
Baz Luhrmann's Romeo + Juliet (1996) took a foundational text of Western society and updated it for modern audiences.
The cast was diverse to reflect inner-city gang rivalries which were making headlines at the time, and it was set in the heart of these troubles in Verona Beach.
Handguns were called "knives" and long guns called "swords". Everything was set against a totally contemporary backdrop. You'd think everyone would be up in arms and furious, right?
Wrong, it was generally well received by critics and home audiences. It earned $132.8 million in profits.
All because it kept the original spoken script of Shakespeare's play spoken by present-day people, and stayed true to the source material. It was an interesting take on a classic that had swag and didn't subvert the original for weirdo antisocial political agendas.
All you have to do is not fundamentally hate the story you're trying to tell (or the culture it comes from) while making a concerted effort to make it shittier. Make actual art and people will be just fine with it. Who knew?