Changes

|2017

|2017

|PG

|PG

|On the one hand, the 2017 film version of ''Beauty and the Beast'' is the latest in the film trend of needlessly and shamelessly remaking animated films or children's stories for the sake of earning quick revenue in the dying Hollywood studio system. Liberals also seized the opportunity with the remake to exploit diversity within the ''Beauty and the Beast'' universe. The final result of the diversity inclusion is that it feels self-congratulatory in the sense of putting it in for the sake of having it, rather than having it be just a part of the story and the film. One notable example is the filmmakers' decision to make LeFou, Gaston's diminutive and bumbling sidekick, a homosexual who is conflicted with his feelings for Gaston (although it should be noted that in the actual script, it never specifies that LeFou was homosexual.<ref>https://www.usatoday.com/story/life/entertainthis/2017/03/03/josh-gad-lefou-beauty-and-the-beast/98679284/</ref>). At the end of the film, LeFou is shown taking a romantic interest in a musketeer who is now a transgender woman after being transformed into one during Gaston's siege of the Beast's castle (who, unlike the original film, actually enjoys it). Not only is it an atrocious artistic decision of the filmmakers to needlessly incorporate diversity simply for the sake of it, but the 2017 film version of ''Beauty and the Beast'' also serves as an example that liberals can legitimately shoehorn the [[homosexual agenda]] into Disney films. Adding salt to the wound, the filmmakers also further changed history to suit their feminist agenda, similar to previous Disney films like ''Mulan'' (1998), ''Pocahontas'' (1995) and ''The Princess and the Frog'' (2009) (most infamously, the villagers are shown to be explicitly intolerant of Belle learning how to read and teaching girls to do the same, smashing her washing machine in the process, despite the fact that the namesake for the village in this film, Mdm. Gabrielle-Suzanne Barbot de Villeneuve, the original author for the fairy tale, was herself a woman). The 2017 film version of ''Beauty and the Beast'' is now even more of a feminist propaganda film than the 1991 animated film version ever was. There were also hints at an anti-war message due to Gaston being turned into a war veteran.

|On the one hand, the 2017 film version of ''Beauty and the Beast'' is the latest in the film trend of needlessly and shamelessly remaking animated films or children's stories for the sake of earning quick revenue in the dying Hollywood studio system. Liberals also seized the opportunity with the remake to exploit diversity within the ''Beauty and the Beast'' universe. The final result of the diversity inclusion is that it feels self-congratulatory in the sense of putting it in for the sake of having it, rather than having it be just a part of the story and the film. One notable example is the filmmakers' decision to make LeFou, Gaston's diminutive and bumbling sidekick, a homosexual who is conflicted with his feelings for Gaston (although it should be noted that in the actual script, it never specifies that LeFou was homosexual.<ref>https://www.usatoday.com/story/life/entertainthis/2017/03/03/josh-gad-lefou-beauty-and-the-beast/98679284/</ref>). At the end of the film, LeFou is shown taking a romantic interest in a musketeer who is now a transgender woman after being transformed into one during Gaston's siege of the Beast's castle (who, unlike the original film, actually enjoys it). Not only is it an atrocious artistic decision of the filmmakers to needlessly incorporate diversity simply for the sake of it, but the 2017 film version of ''Beauty and the Beast'' also serves as an example that liberals can legitimately shoehorn the [[homosexual agenda]] into Disney films. Adding salt to the wound, the filmmakers also further changed history to suit their feminist agenda, similar to previous Disney films like ''Mulan'' (1998), ''Pocahontas'' (1995) and ''The Princess and the Frog'' (2009) (most infamously, the villagers are shown to be explicitly intolerant of Belle learning how to read and teaching girls to do the same, smashing her washing machine in the process, despite the fact that the namesake for the village in this film, Mdm. Gabrielle-Suzanne Barbot de Villeneuve, the original author for the fairy tale, was herself a woman). The 2017 film version of ''Beauty and the Beast'' is now even more of a feminist propaganda film than the 1991 animated film version ever was. There were also hints at an anti-war message due to Gaston being turned into a war veteran, in addition to the implied anti-hunting messages from the original film via his profession (which if anything was expanded on by their hinting at Gaston being evil in the Gaston song when he, in reference to LeFou's question about whether shooting his prey from behind was "fair", states he didn't care if it was, even though killing prey when they least expect it is the entire point behind hunting, which was based on a deleted lyric from one of the earlier drafts of what would become the 1991 film.).

All of that, along with the other shortcomings of the film, reinforces the statement that most of Hollywood is currently out of ideas for motion pictures. It also re-establishes the fact that Disney would, at times, forsake genuine family entertainment in favor of blatant liberal propaganda.

All of that, along with the other shortcomings of the film, reinforces the statement that most of Hollywood is currently out of ideas for motion pictures. It also re-establishes the fact that Disney would, at times, forsake genuine family entertainment in favor of blatant liberal propaganda.