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Zootopia

  • In a city of anthropomorphic animals, a rookie bunny cop and a cynical con artist fox must work together to uncover a conspiracy.
  • From the largest elephant to the smallest shrew, the city of Zootopia is a mammal metropolis where various animals live and thrive. When Judy Hopps becomes the first rabbit to join the police force, she quickly learns how tough it is to enforce the law. Determined to prove herself, Judy jumps at the opportunity to solve a mysterious case. Unfortunately, that means working with Nick Wilde, a wily fox who makes her job even harder. — Jwelch5742
  • From the biggest elephant to the tiniest shrew, the city of Zootopia is a beautiful metropolis where all animals live peacefully with one another. Determined to prove her worth, Judy Hopps becomes the first official bunny cop on the police force. When 14 predator animals go missing, Judy immediately takes the case. Partnering with a smooth talking fox named Nick Wilde, Judy must piece together all the clues as to where the predators are and who is behind it all. — Blazer346
  • Being the first one is never easy, especially for Judy Hopps, the first bunny cop. When strange things happen in the city, Judy decides that she will try to solve the case, but she only has 48 hours to do so. To help her, she partners with a con artist fox named Nick Wilde, even though he makes the job harder. — Aken Purnomo
  • In a world where animals have no intention of eating each other, a little bunny named Judy Hopps who grew up on a farm leaves her family to pursue her dreams of being the first bunny cop in Zootopia. While there, she runs into a con artist fox named Nick Wilde, and they have to work together after an incident threatens Zootopia.
  • In the town of Bunnyburrow, 9 year old bunny, Judy Hopps ( Della Saba ) is performing in a school play. Her theme explains that animals, once primitive and wild, have now evolved to where predators and prey can live side by side in harmony. The founding mammal city, Zootopia, is hailed as a place where anyone can be anything. Judy then announces that she wants to be a police officer. A kid fox in the audience, Gideon Grey ( Phil Johnston ), sneers at the idea and even Judy's parents, Bonnie and Stu ( Bonnie Hunt and Don Lake ) tell her that there's never been a bunny officer. However, Judy is willing to try against all odds. When Judy sees Gideon bullying some kids by taking their fair tickets she boldly confronts him, but Gideon responds by taunting Judy's dreams and slashing her in the face. He leaves and, though she's hurt, Judy shows her friends the tickets she got back and declares that she doesn't know when to quit. Years later Judy attends the Zootopia Police Academy. Judy is tiny compared to the other recruits and faces difficulties managing the obstacle courses run by the drill sergeant ( Fuschia! ). But through sheer determination, and by using her wits, Judy makes it to graduation as valedictorian. Zootopia Mayor Lionheart ( J.K. Simmons ) oversees the ceremony and Assistant Mayor Bellwether ( Jenny Slate ), a sheep, formally congratulates Judy as the first bunny police officer, saying it's a big day for all small animals. She is assigned to Precinct 1 in the heart of Zootopia, much to the apprehension of her parents. A few days after, Judy, her parents, and many siblings head to the train station. Stu convinces Judy to take a can of fox repellent with her before she gets on the train to Zootopia. Judy listens to a hit by pop singer, Gazelle ( Shakira ), as she zooms through the diverse districts of the city, from the frozen tundra to the sultry rainforest. She finds her apartment, a run-down single room with a rickety bed, paper-thin walls, and two noisy neighbors, Bucky and Pronk Oryx-Antlerson ( Byron Howard and Jared Bush ). Despite this, she's all to excited for her first day. She gets up bright and early and makes it to the police station where she is directed to role call by the pudgy desk sergeant, a cheetah named Benjamin Clawhauser ( Nate Torrence ). All the other officers (elephants, rhinos, hippos, and bears) tower over Judy. Police Chief Bogo ( Idris Elba ) calls them to order and explains their first priority is handling the case of fourteen missing animals; all predators. Bogo divides everyone into teams but assigns Judy to parking duty. Judy is disappointed but sets her standards high and uses her sharp ears to help her write 200 tickets before noon. Around then, she notices a fox who appears to be up to something enter a local ice cream shop run by Jerry Jumbeaux Jr. ( John DiMaggio ). Though suspicious at first, Judy then sees the fox, Nick Wilde ( Jason Bateman ), is just trying to purchase a jumbo-pop for his son who is wearing an elephant costume. Jerry refuses service to the fox with sneering bigotry and this angers Judy who steps in and proposes a compromise; she'll let the elephants off with a warning for the health code violation of serving ice cream without gloves on their trunks if Nick can have a jumbo-pop. When Nick confesses he doesn't have his wallet, and apologizes to his son for the worst birthday, Judy goes further and pays for the treat. She tells Nick she can't stand it when people are mistreated for being predators or prey and walks away with a spring in her step, happy to have helped someone in need. Later that day, Judy is writing more tickets when she notices the little fox in his elephant suit. She approaches to say hello but then notices that he and Nick are melting the jumbo-pop from the roof of a building and letting the drippings collect in large jars. They drive away together, with the little fox at the wheel. Judy follows them into Tundratown and sees them making mini pops with the melted juice. They take them into the Savannah District and sell them to hamsters coming out of work. The hamsters chomp on the pops and leave the sticks in a recycling bin. The little fox collects the sticks and he and Nick take them to a construction zone in Little Rodentia where they're sold as lumber. Later, Nick and his 'son', a full-grown fennec fox named Finnick ( Tom Lister Jr. ), part ways and Judy confronts Nick. Nick doesn't deny that he's a hustler but provides Judy with all the paperwork he needs to make his endeavors technically legal and humbles her by saying that the city is not a magical land where dreams come true and a meter maid can never be a real cop. Judy returns to her apartment, sullen, and bears through an inadvertently insulting call from her parents who are thoughtlessly relieved to see she is not a "real cop" in their eyes and has instead the safest job on the force. The next day, Judy is writing more tickets and enduring unending verbal abuse from the citizenry for her duty when she is approached by a frantic pig ( Josh Dallas ) who tells her he's just been robbed. Judy springs into action and chases the thieving weasel ( Alan Tudyk ) through the city square and into Little Rodentia. During the chase, in which Judy has to take considerable pains to avoid accidental harm to the tiny citizenry and their property, Duke kicks a plastic doughnut from a shop toward Judy and it nearly crushes a lady shrew, but Judy stops it in the nick of time and uses the doughnut to apprehend the weasel. Judy rolls him into the station but is called to Bogo's office. He reprimands her for leaving her post and endangering the public to retrieve a bag of moldy onions. Judy objects, saying that the 'onions' are actually flower bulbs called Midnicampum holicithias and that she only wanted to serve as a real cop. However, Chief Bogo responds that she had her orders as a parking attendant and disobeyed them, making a political appointee like her intolerable to him. Just then, an otter named Mrs. Otterton ( Octavia Spencer ) barges in, begging Chief Bogo to find her husband, Emmitt, who has been missing for ten days. Bogo offers empty assurances until Judy steps up and promises to find him. Bogo escorts Mrs. Otterton out of the office before firing Judy for insubordination. However, when he opens the door again, he finds Mrs. Otterton speaking with Assistant Mayor Bellwether who promptly sends a notice to the mayor about Judy's willingness to take the case and tells Judy to come to her for any assistance. Bogo reluctantly allows Judy to take the case but gives her a 48 hour ultimatum; she finds the otter or resigns. Judy agrees. At the front desk, Clawhauser gives Judy the case file but there are no leads or witnesses and, since she's new, she has no technological resources. However, Judy notices in the lone photograph they have that Emmitt is eating a familiar looking popsicle. She locates Nick on the streets and demands his help but he refuses. When she says his ten dollars' worth of mini pops can wait, he claims to have made two hundred a day since he was twelve. Judy records Nick on her carrot pen recorder and puts his own words against his tax files which show he's claimed zero income. Judy says she'll report him for tax evasion, a federal offense, unless he helps her. Finnick, who was asleep in the stroller Nick was pushing, laughs at the reverse hustle and wishes Nick good luck working with the fuzz before walking off. Nick takes Judy to Mystic Springs Oasis, the last place he saw Otterton going. They're met by a yak named Yax ( Tommy Chong ), doing yoga behind a desk. He recognizes Mr. Otterton but says he hasn't seen him in a couple of weeks. He then takes them into the oasis to find Emmitt's yoga instructor, an elephant named Nangi ( Gita Reddy ), and Judy is shocked to find the oasis is a haven for naturalists; nude animals. Nangi has no memory of Otterton, but Yax unwittingly gives Judy all the information she needs, including the plate number for the car Otterton was picked up in the last time he was there. Nick says he has a friend at the DMV who can help them run the plate number. There, Judy is disheartened to see that the DMV is run solely by sloths. Nick's friend, Flash ( Raymond S. Persi ) is able to run the plate number for them but, naturally, takes forever to do so. This isn't helped when Nick, in an attempt to push Judy's buttons, delays them with a joke. By the time they exit, it's nighttime. Judy finds out the car in question is a limo in Tundratown but, by the time she and Nick arrive, the lot's closed. Without a warrant, Judy cannot get in. Defeated, she holds out her recording pen to Nick but flings it over the fence. Nick goes to retrieve it and Judy meets him on the other side, slyly saying that she doesn't need a warrant if she has probable cause - and a shifty-looking fox climbing over the gate qualifies. They locate the limo and search it, finding polar bear fur, claw marks all over the back seat, and Otterton's wallet. Then, Nick recognizes an insignia on a drinking glass and panics; he knows who's car this is. When they open the car door to leave they're confronted by a couple of polar bears who shove them into a car. Squeezed in the back seat between two polar bears, Nick explains that the car belongs to a thug boss named Mr. Big with whom he's not on good terms because Nick sold him an expensive rug made from the fur of a skunk's butt. Nick and Judy are brought into a study where Mr. Big ( Maurice LaMarche ), a shrew, is carried in by his polar bear guards. He berates Nick for tarnishing his trust and the hospitality of his grandmother who he recently buried in the skunk rug, and scolds him for returning on the day of his daughter's wedding. Unafraid, Judy steps forward and tells Mr. Big that she knows Emmitt Otterton was with him last and will find out what happened to him if it's the last thing she does. Unfazed, Mr. Big orders his bears to 'ice' Nick and Judy and they're held over a trap door in the floor that reveals icy water. Mr. Big's daughter, Fru Fru ( Leah Latham ), then walks in wearing her wedding dress and recognizes Judy as the bunny that saved her the previous day from being crushed by the doughnut. In gratitude, Mr. Big releases Judy and Nick and invites them to Fru Fru's wedding reception where he explains that Otterton was his florist but, before meeting with him to discuss something important, went crazy in the limo he sent, attacked his driver, and disappeared. Mr. Big directs them to speak with the driver, Manchas ( Jesse Corti ), in the Rainforest District for more information. Manchas, a melanistic jaguar, cracks open the door when Nick and Judy arrive, showing scratches all over his face and acting fearful. He tells them that Otterton kept talking about the 'night howlers' before he went wild and savagely attacked him. Nick says they're there to talk about the night howlers too and Manchas agrees to let them in but, just after he unlocks the chain, Judy and Nick hear him groan followed by a thud. They push the door open to see Manchas on all fours, growling viciously at them. Nick and Judy run for their lives, pursued closely by Manchas. Judy manages to call for backup as she and Nick tumble and fall through the slick canopy. Finally, Judy is able to cuff Manchas to a light pole near a gondola station and throws herself and Nick off it into some vines away from the jaguar's claws. They meet up with the responding police units and Judy explains to Chief Bogo that she believes Manchas, like Otterton, went 'savage'. However, when she takes them back to the gondola station, Manchas is gone. Bogo, irritated and not believing Judy's story demands her to hand over her badge for failing to complete her assignment, but Nick stands up for Judy. He says that Bogo gave them 48 hours, which means they have ten left to find Otterton. He takes Judy onto a gondola and they leave. Over the rainforest, Nick explains that he was idealistic like Judy once. As a kid, he wanted nothing more than to join the Junior Ranger Scouts. His mother bought him a new uniform and he was excited to become part of the group, despite the fact that he was the only predator to join. Upon arriving, however, the other animals bullied and muzzled him, saying that he was stupid for thinking they'd trust a fox. After that day he decided he would never let anyone see that they had gotten to him and if people only thought of foxes as shifty and untrustworthy, then that's what he would be. Judy consoles him but Nick deflects from her affections by looking at traffic below. He then realizes that there are traffic cameras all over the canopy and they can use them to find out where Manchas was taken. Judy recalls that Assistant Mayor Bellwether offered to help them. They meet her at City Hall and she takes them to her office which is nothing more than a janitor's closet. Despite her upbeat personality, it's no secret that she's woefully mistreated by the Mayor. She opens the database for the Rainforest District traffic cameras before being called away by Lionheart. Judy and Nick find the footage of Manchas and see that he was netted and hauled away by timber wolves. Judy realizes that the wolves must be the Night Howlers. They watch as the wolves' van drives through a tunnel but fails to come out the other side. Nick says that there's a maintenance tunnel and, if he were to do anything illegal, that's the route he'd take to avoid observation. They relocate the van and go to where it was headed - an old building outside of town called Cliffside Asylum. Nick and Judy make it past the guards by inciting a group howl; something the wolves can't resist. Inside, they find new equipment in an old hospital ward. Following claw marks on the floor, they find fifteen cells inhabited by various predators, all feral and savage, including Manchas and Mr. Otterton. Judy realizes she's just found all of the missing mammals but, just then, Mayor Lionheart enters with a badger doctor ( Katie Lowes ). Judy and Nick hide in an empty cell and Judy records Lionheart as he demands to know why predators are going savage. The doctor has no answer and says that they must come forward to Chief Bogo but the Mayor refuses, saying his reputation as a predator official is at stake. At that moment, Judy's phone rings with a call from her parents. Lionheart is startled and the doctor orders security to investigate before locking off the wing. Nick and Judy escape by flushing themselves down a toilet just before the guards arrive and they manage to get the evidence Judy recorded back to Bogo. The ZPD arrive at the asylum and place everyone, including the Mayor, under arrest. Lionheart protests that they still don't know why predators are going savage and he was trying to protect the public. Later, Chief Bogo, deeply impressed at Hopp's achievement, holds a press conference where Judy gives Nick her pen recorder and offers him the chance to sign up as her partner. Nick is flattered and watches as Judy is called to the stand to answer some questions. Judy starts simple, mentioning that all the savage mammals are predators, but when pressed as to why, she speculates that it could be something to do with their DNA. As predators, the inflicted may have reverted back to their primal origins. The reporters go into a frenzy before Bellwether shuts down the conference. Judy is relieved to be off the podium but Nick is angered by what she said. Judy says she was just stating facts but Nick asks her if a fox such as himself should indeed be trusted. When he raises his arms, asking if Judy is afraid of him, she instinctively puts her hand on her fox repellent. He hands her back the application, telling her that it's best she doesn't have a predator for a partner, before leaving. A wedge is driven between the predator and prey populations, with prey acting fearful against all predators. Gazelle hosts a peaceful protest against discrimination, despite backlash, and savage attacks continue in the city as more predators go primal. Judy feels responsible for the ensuing tensions between the animals and goes to see Mrs. Otterton where she's watching Emmitt meander mindlessly in his hospital room. At the police station, Judy is summoned by Bogo to see the new mayor, Bellwether. Bellwether explains that with the population in Zootopia being 90% prey, she wants Judy as the face of the ZPD to inspire hope. But Judy claims that she's no hero and says she's done the opposite of what she wanted; to make the world a better place. She says a good cop should help the city, not tear it apart, and hands over her badge before leaving. Judy returns to Bunnyburrow where she manages her parent's vegetable stand. She wonders aloud to them how she ever thought she could make a difference but they console her as a pie truck pulls up. As the driver, a grown Gideon Grey, gets out, Judy's parents explain that they've partnered up with him and never would have done so had Judy not opened their eyes. Gideon apologizes to Judy for what he did when he was younger, stating that his own insecurities manifested into unchecked rage, but Judy forgives him and says she knows a thing or two about being a jerk. Just then, some bunny children run through the field behind them and Judy's father warns them to stay away from the growing Midnicampum holicithias near the edge. Gideon laughs and says his family just called them night howlers. Judy perks up at this and her father explains that the flowers keep away pests but are toxic. His brother Terry ate one and went into a rage, biting Judy's mother. Judy realizes that the night howlers weren't the wolves - they were flowers. Not only that, but they make animals go savage. She grabs the keys to the truck and races back to Zootopia. She finds Finnick and he points her to Nick, sitting in the sun beside a small bridge. Judy runs up to him and reveals the truth about the night howlers but he walks away. Desperate, Judy apologizes to him and says she needs his help. She begins to cry and admits that she was a jerk to him and really is a dumb bunny as he once said. Nick doesn't seem to react until he replays a recording of her repentance and holds up her pen recorder enabling that and smiles, saying he'll erase it after 48 hours, before embracing a profoundly relieved Judy. They climb into the truck and Nick helps himself to some of Judy's blueberries while she shows him a picture of the weasel thief she caught stealing the Midnicampum holicithias; Duke Weaselton. They find him on a street corner selling bootleg DVDs such as 'Wrangled', 'Pig Hero 6', and 'Meowana'. Judy confronts him and demands to know what he was doing with the night howler flower bulbs, but he says he won't talk. Judy and Nick smile slyly and take the weasel to Mr. Big. Duke is incredulous as to why Mr. Big would help a cop, but Mr. Big smiles and says Judy is the godmother of his future grandchild. A very pregnant Fru Fru says she's going to name her daughter after Judy. On threat of being iced, Duke relents and confesses he sold bulbs to a ram named Doug who works out of an abandoned rail station. Nick and Judy follow the directions to a rusty subway car underground. They sneak inside and find Doug ( Rich Moore ) in a yellow jumpsuit preparing the blue flowers and harvesting them chemically to produce a serum which he puts into fragile pellets. He loads a pellet into a gun as his phone rings, telling him his next mark is a cheetah in Sahara Square. He assures the caller he can make the hit since he was able to get an otter in a moving car. He places the gun in a briefcase and goes to answer a knock at the back of the car, saying that Woolter and Jesse have come back with coffee. Judy takes the opportunity to knock Doug out of the car and locks the door before ordering Nick to get the car moving. With some finagling, they're able to start it and the car moves down the track, slowly gaining speed. Judy is intent on bringing the evidence to police headquarters but two rams jump onto the moving car. They manage to knock Jesse off the car inside the tunnel, grazing him as he hugs the wall and shaving his belly pink. Woolter head-butts his way into the front of the car as they make their way outside but they soon face another oncoming train. Judy tells Nick to speed up and kicks Woolter into a switch lever just in time, but they are traveling too fast around the next curve and the car derails into the next empty station. Judy and Nick jump from the car as the friction causes it to go up in flames and watch from the platform as it explodes. Judy thinks all the evidence is destroyed but Nick holds up the briefcase with the gun inside. They run upstairs out of the station and into the Natural History Museum, empty due to renovations. As they near the exit toward the police station they are called from behind by Mayor Bellwether, accompanied by two rams in police uniform. Bellwether thanks Judy for discovering the perpetrators behind the predator conspiracy and reaches for the briefcase but Judy wonders aloud how she knew where to find them. They edge toward the exit but are blocked by a disheveled Woolter. Realizing Bellwether was behind the plot all along, Judy and Nick run and attempt to hide down a corridor. Along the way Judy runs into a protruding mammoth tusk and cuts her leg. Nick pulls a handkerchief out of his pocket, blueberries spilling everywhere, and bandages Judy's leg but she tells him to leave her since she can't walk. They try to think of something as they are surrounded by the sheep. Bellwether calls out to Judy, saying that in the city prey outnumber predators 10 to 1. They need to band together to end their mistreatment against the more powerful and loud predators and, once united, will be unstoppable. Judy and Nick run for it but are knocked into a sunken diorama and Nick drops the briefcase. Bellwether retrieves it and looks down on Nick and Judy before taking aim with the gun and shooting Nick. The blue solution covers his neck and he trembles while Bellwether calls the police and feigns alarm, saying Officer Judy is down and being attacked by a savage fox. Judy tells Bellwether her plan won't work as Nick advances on her, growling. Bellwether says that fear always works and, with a predisposition to savagery, predators will be forced out of Zootopia and she'll dart every one to keep it that way. Nick then lunges at Judy and puts his jaws around her neck, but just as quickly releases her as Judy puts on a dramatic performance. Nick and Judy then reveal they switched out the serum in the gun with blueberries and have recorded everything Bellwether said on Judy's pen recorder. Horrified, Bellwether backs up to flee only to be stopped and arrested by the responding ZPD. On the news, an anchor reads that Bellwether was charged for masterminding the savage predator conspiracy. Former Mayor Lionheart gives an interview where he says he didn't know about Bellwether's plot and only caged the savage predators to protect the city, citing he did a wrong thing for the right reasons. It is announced that an antidote has been created with positive effects. Judy goes to the hospital where she sees Emmitt Otterton recovering and embracing his concerned wife. Months later, Judy, a police officer again and much wizened by her experience, addresses the new police academy graduates, one of them being Nick Wilde. She says, "When I was a kid, I thought Zootopia was this perfect place where everyone got along and anyone could be anything. Turns out, real life's a little bit more complicated than a slogan on a bumper sticker. Real life is messy. We all have limitations. We all make mistakes, which means...hey, glass half full! We all have a lot in common. And the more we try to understand one another, the more exceptional each of us will be. But we have to try. No matter what type of animal you are, from the biggest elephant to our first fox, I implore you: Try. Try to make a difference. Try to make the world a better place. Try to look inside yourself and recognize that change starts with you. It starts with me. It starts with all of us." Nick approaches the stage and Judy pins on his cop badge. The next day, Chief Bogo hands out assignments, giving Nick and Judy the task of catching a hot-rodder tearing up the roads downtown. Judy and Nick come across the speeder in their patrol car and pull him over, surprised to see Flash the sloth behind the wheel. Flash smiles slyly at Nick and the credits roll as Gazelle (Shakira) performs 'Try Everything' at a concert in Zootopia with everyone in attendance save for Bellwether who watches the show on TV from prison.

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63 Zootopia (2016)

Zootopia (2016): The Diversity in Society

By Prakaydao Chinpinyokul

Zootopia was made by Disney and released in theaters in 2016. Without analyzing it, this movie seems to be an average movie for children to enjoy. Character designs, settings, music, and plot draw children into the colorful world of Zootopia. Enjoying the up and down and thrilling moments as children follow the story of the protagonist, Judy Hopps, a bunny who is full of determination and ambition to pursue her dream of becoming a police officer, starting her new life in Zootopia, and facing the obstacle with optimism. However, as children watch Zootopia , they might have missed the critical detail that the movie tries to tell audiences because they are too young to understand the topic that highlights the issue of difference, power, and discrimination. It is normal for children to categorize animals as one group and overlook the diversity of animals in the movie. The variety of the society that shows different types of animals with different personalities in the film is the key to understanding these issues and how it shapes people in Zootopia.

But first, we have to focus on the settings that show many small details being put in the movie to fit in a world full of many types of animals. Zootopia is known as a city where “Anyone can be anything” (03.00), showing the concept of equality. The movie displays this concept by introducing twelve unique ecosystems in the city. Also, providing facilities for different animals. The scene when Judy says goodbye to her family and leaves for Zootopia at the train station is a good exmple. You can see there are many sizes of train doors for different animals who are big and small. Even the scene when Judy chases after the thief in the small city where mice live, or the scene with a different size of trash can shows the city that treats every animal equally. The city appears to be a perfect place for every animal. However, that is just the outside to make the city look like an ideal city, and we’ll have to look deep into the different groups of animals in the movie that create Zootopia society.

Three images showing a train door with many sizes different size of trash cans in Small City that mouses live in

The movie displays two types of animals in the city; the first are herbivores seen as prey, and the seconds are carnivores seen as predators in the movie. The central conflict in the film starts when Judy learns about the missing mammal cases. At first, the case looks like a typical missing animal, but as Judy gets closer to cracking the case. She finds out that all the missing animals turn into savages. She thinks what causes animals to turn savage is because of “biology…a biological component…thousand years ago…predators survived through their aggressive hunting instincts…reverting back to their primitive, savage ways…” (01.11.10)—connecting the dot that all missing animals are predators and only predators can turn savage. The small assumption leads to a tear in Zootopia and uproar diversion between predator and prey. This part of the movie shows the discrimination caused by hatred and fear toward predators. Suppressing and discriminating against other people with cruel words that do not even apply to those people in reality. These kinds of actions affect some of the characters in the movie to grow up with the conflict and fear of being anything other than what people around tell them.

Society in Zootopia is similar to our world. Some animals have jobs, such as constructors, thieves, police officers, secretaries, or a mayor. However, one thing to notice in the movie is that the same animal species or same-sized animals usually work in the same jobs. Zootopia’s society has the stereotype of what kind of jobs this animal can do, which overpowers the animal’s opinion and right to choose in Zootopia. For example, animals that work as police officers are big and strong-looking, sloths work as DMV employees, or bunnies work as farmers. The Mayor in Zootopia, Lionheart, is even a lion, an animal known to be the king of the animal kingdom. This kind of stereotype contradicts the quote “Anyone can be anything” and highlights the true side of Zootopia of people stuck in their stereotypes.

Bellwether is one of the characters sick of society always choosing who can or can not be. Bellwether is a sheep secretary who works under Lionheart, the mayor in Zootopia, and her appearance looks sweet and kind in the movie. Surprisingly, she is the real villain, turning predators into savage predators. The reason behind her villain plan is formed by the hatred that she had toward predators. Her whole career working as a secretary for the mayor has to deal with power suppressing her. She receives terrible treatment from the mayor, who tells her what to do, calling her “Smellwether”, or forcing her to work in a boiling room instead of an actual workplace. Moreover, he gives her a mug that says “World’s Greatest Dad” but crosses the word “dad” with “assistant mayor”—showing Lionheart never respects Bellwether or takes her seriously. It is unfortunate what she has to go through and feel like she is just “a glorified secretary” (01.01.45) used to get the sheep to vote for the mayor. Bellwether is tired of being underestimated and underappreciated by predators who are always in power showing “a grudge against what she saw as an unfair system” (Hassler). She wants to make a world where preys dominate predators. To do that, she needs to become powerful by creating the fear of predators within prey, which makes Lionheart a predator not in a powerful position anymore.

Bellweather carrying files then giving commands in side by side images

You can see the difference between the pictures of Bellwether. The first picture is when Bellwether still works under a mayor, and a shot is from an angle looking down at Bellwether, making her look weak. The second picture is when Bellwether becomes a mayor, and a shot is from an angle looking up at Bellwether, and her surroundings are dark tone, indicating she is in power and revealing her true self. This is an excellent example of how power can have a lot of effect on our society.

Nick’s character is introduced in the movie as a con artist. He is seen as sneaky and cunning in the beginning. Animals in Zootopia or even Judy see Nick as a sly and mischievous fox, a common trait of all foxes. However, as Judy and Nick work together on a missing animal case, Judy realizes that Nick’s real personality is not like the fake act that he created for people around him to see. In the movie, audiences later learn that the reason behind Nick’s actions is actually a way for him to protect himself from people who discriminate against him for being a fox. He had a dream of joining the Ranger Scouts when he was a kid, but his dream was destroyed when people in the Scout mistreated him just because he is a fox, and the stereotype of foxes can’t be trusted. The scene after Nick ran away to hide behind the side of the building shows him as a victim and no one beside him to stand for him. His mussel symbolizes the violence from the discrimination and his inability to express his true self. He tells his pain to Judy and says, “If the world’s only gonna see a fox as shifty and untrustworthy, there’s no point in trying to be anything else” (59.53). Nick chooses not to fight back the discrimination and accepts the stereotype of a fox. Later in the movie, Judy slowly sees Nick as trustworthy and overlooks his identity of being a predator. Nick also gradually became the person he wanted to be, a kind, gentle person who overcame barriers created by society.

Finally, the protagonist, Judy Hopps, is different from the other bunnies in her hometown. She dreams of becoming a police officer, but her parents, her bully, or people around her think that a bunny can’t be police because “there is never a bunny cop…Bunny don’t do that…never” (03.33). It reveals her parents are stuck in the stereotype that bunnies can only be farmers and are scared of trying a new thing because they know they will fail. With the critical comments from people around her, she didn’t care what people thought and kept working hard until she successfully became the first bunny officer. However, her path to becoming a real police officer didn’t go as smoothly as she thought. Look closely at the shot from Judy’s point of view, looking at enormous police officers, or when Judy is in the same shot with other officers; the film wants audiences to compare Judy with other officers and notice that Judy is different from others. She receives discrimination from the teacher in the police academy, telling her she won’t be able to succeed, or the chief assigns her to parking duty while other police officers work on the missing file case. She receives these unfair treatments because of her small physical appearance, being the only female in a male-dominated workplace, and just because she is different from others. Even the article from the research mentions, “It becomes clear that one’s workplace success depends more…connections, race and/ or gender than their academic achievement” (Beaudine, Osibodu, Beavers). This confirms Judy is being looked down on because she is a bunny; her having a token or writing two hundred parking tickets would not change the point of view of how other animals see her. However, it doesn’t change the fact that Judy still has the privilege of being a prey animal, which gives her a platform to speak on the issue of missing animals that turn into savages. But because she didn’t understand why animals were turning savage, causing her to say something offensive to predators. This “demonstrates how language can be hurtful without being overly aggressive” (Crewe)— causing her to lose a good friend like Nick, who used to be gone through the experience of being discriminated against as a predator. This also shows her unconscious discrimination toward predators when she grabs her fox spray due to her inner fear and reveals she never experience cruel discrimination against predators. Needless to say, Judy’s action was not on purpose. She “recognizes her mistake and expresses regret, thereby models for the movie’s audience regarding him they should respond” (Flory), which is a smart way to teach children about these issues and learn to take responsibility for their actions.

Zootopia is a great movie with many good messages about equality. It displays power, difference, and discrimination issues through characters in the film, making it not too complex for audiences like parents to teach their children. All characters in movies are animals, which makes it hard for audiences to compare the animal species in the film to the human race in real life, thus reaching more audiences from different groups because everyone can feel related to the film. Of course, the city of Zootopia is not like our society. Our society is full of many people that come from different backgrounds. Still, we are all human beings at the end of the day. Like Judy said, “We all have limitations. We all make mistakes which mean…we all have a lot in common, and the more we try to understand one another, the more exceptional each of us will be” (01.33.45)—proving that we can become more than what we are in our own unique way. It depends on you whether you want to accept the system and continue to be what people around you say or fight against the system and make the world a better place, so which path are you going to choose?

Beaudine, Gregory., Osibodu, Oyemolade., and Beavers, Aliya. “Disney’s Metaphorical Exploration of Racism and Stereotypes: A Review of Zootopia” The University of Chicago Press Journals, Feb 1. 2017, www.journals.uchicago.edu/doi/10.1086/690061

Crewe, David. “Animal harm discrimination and difference in Zootopia” Gale Academic Onefile, Jan. 2017, go.gale.com/ps/i.do?id=GALE%7CA485988740&sid=googleScholar&v=2.1&it=r&linka ccess=abs&issn=1449857X&p=AONE&sw=w&userGroupName=oregon_oweb&isGeo AuthType=true

Flory, Dan. “Audience, Implicit Racial Bias, and Cinematic Twists in Zootopia” The Journal of Aesthetics & Art Criticism, Oct 30. 2019, academic.oup.com/jaac/article/77/4/435/5981537

Hassler, Forest, Dan. “‘Life Isn’t Some Cartoon Musical’: Neoliberal Identity Politics in Zootopia and Orange Is the New Black .” Journal of Popular Culture, vol. 51, no. 2, Apr. 2018, pp. 356–78. EBSCOhost, doi-org.ezproxy.libweb.linnbenton.edu/10.1111/jpcu.12658.

Difference, Power, and Discrimination in Film and Media: Student Essays Copyright © by Students at Linn-Benton Community College is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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Essay on Zootopia

Students are often asked to write an essay on Zootopia in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

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100 Words Essay on Zootopia

Introduction to zootopia.

Zootopia is a popular animated movie by Disney. It’s a fun-filled adventure set in a city inhabited by anthropomorphic animals.

The story revolves around Judy Hopps, a rabbit who dreams of becoming a police officer in Zootopia. Despite facing challenges due to her size, Judy never gives up.

Zootopia teaches important lessons about friendship, determination, and overcoming stereotypes. It shows how anyone can achieve their dreams, regardless of who they are.

Zootopia has left a lasting impact on viewers, encouraging them to believe in themselves and their dreams.

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250 Words Essay on Zootopia

Introduction.

“Zootopia” is a renowned 2016 animation film produced by Walt Disney Animation Studios. It is an allegorical tale that uses anthropomorphic animals to convey profound societal messages, particularly concerning prejudice and stereotyping.

The Metaphorical Cityscape

The city of Zootopia itself is a metaphorical representation of the human world. It is a melting pot of different species living together, much like our multicultural societies. The city is divided into districts that mimic different habitats, symbolizing the societal segmentation based on race, ethnicity, or social class.

Breaking Stereotypes

The film’s main characters, Judy Hopps and Nick Wilde, embody the struggle against stereotyping. Judy, a rabbit, fights against the stereotype of being perceived as weak and incapable, while Nick, a fox, battles the prejudice of being labeled as sly and untrustworthy. Their journey is an exploration of how individuals can overcome societal biases.

Social Commentary

“Zootopia” uses its narrative to comment on social issues such as racism, bias, and fear of the ‘other.’ The film showcases how fear can be manipulated to create divisions, a reflection of real-world politics and media influence. The ‘Night Howler’ incident is a powerful metaphor for how society can be driven to hysteria and discrimination.

In conclusion, “Zootopia” is more than just an animated film. It is a social commentary that uses anthropomorphism to discuss complex societal issues. It encourages viewers to challenge their preconceived notions and stereotypes, promoting a message of unity and acceptance.

500 Words Essay on Zootopia

Zootopia, a 2016 computer-animated film produced by Walt Disney Animation Studios, presents a utopian city where anthropomorphic animals coexist in harmony. The film, directed by Byron Howard and Rich Moore, is a creative masterpiece that offers insightful social commentary through a vibrant, animated world.

Plot and Characterization

The film revolves around Judy Hopps, a rabbit who aspires to be a police officer in Zootopia, a city divided into different habitats for various animal species. Despite facing discrimination due to her size and species, Judy’s determination sees her become the first rabbit officer. However, she is assigned mundane parking duties, a far cry from her dream of solving significant cases.

When a mysterious case of disappearing predators arises, Judy seizes the opportunity to prove herself. She teams up with Nick Wilde, a sly fox who initially embodies the stereotypes associated with his species. Their unlikely partnership forms the crux of the narrative, unraveling the mystery and exposing the prejudices that plague Zootopia.

Thematic Analysis

Zootopia delves into complex themes such as prejudice, discrimination, and the power of stereotypes. It portrays how societal biases can be deeply ingrained, often influencing perceptions and actions. Judy, initially a victim of prejudice, later unwittingly becomes a perpetrator, showcasing how anyone can fall prey to such biases.

The film also explores the theme of unity in diversity. Zootopia, despite its assortment of species, thrives because of its diversity, not in spite of it. This message is a powerful comment on modern society, where diversity should be celebrated as a strength.

Artistic Merit

Zootopia’s success is not solely due to its thematic depth; it also excels in its artistic execution. The film’s animation is a visual treat, with meticulous attention to detail in creating distinct habitats within Zootopia. Furthermore, the character designs effectively capture the unique traits of various animal species while maintaining their anthropomorphic appeal.

Critical Reception

Zootopia was lauded by critics for its narrative depth, engaging characters, and stunning animation. It earned numerous accolades, including an Academy Award for Best Animated Feature. Its commercial success, coupled with its critical acclaim, underscores its resonance with audiences and its effectiveness in delivering its potent social message.

Zootopia is more than an entertaining animated film; it is a thoughtful exploration of societal issues wrapped in a vibrant, engaging narrative. It uses the medium of animation to discuss prejudice, stereotypes, and diversity, making these complex themes accessible to a broad audience. Its success serves as a testament to the power of animation in delivering profound social commentary. In essence, Zootopia is a shining example of the potential of animated films to transcend entertainment and provoke thoughtful discourse on societal issues.

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Film Review: ‘Zootopia’

Disney offers a decades-later correction to 'Song of the South,' in which rabbits and foxes have a chance to live together in relative harmony.

By Peter Debruge

Peter Debruge

Chief Film Critic

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Zootopia Disney Trailer Sloths

From the company that brought you the utopian simplicity of “It’s a Small World” comes a place where mammals of all shapes, sizes and dietary preferences not only live in harmony, but also are encouraged to be whatever they want — a revisionist animal kingdom in which lions and lambs lay down the mayoral law together, and a cuddly-wuddly bunny can grow up to become the city’s top cop. Welcome to “ Zootopia ,” where differences of race and species serve no obstacle to either acceptance or achievement. It is, in short, a city that only the Mouse House could imagine, and one that lends itself surprisingly well to a classic L.A.-style detective story, a la “The Big Lebowski” or “Inherent Vice,” yielding an adult-friendly whodunit with a chipper “you can do it!” message for the cubs.

Opening in several European countries weeks ahead of its March 4 domestic release, “Zootopia” is full of motormouthed characters and American culture in-jokes — no surprise, considering it was directed by Byron Howard , whose girl-power “Tangled” kicked off the recent Disney revival, and “The Simpsons” vet Rich Moore , who previously helmed “Wreck-It Ralph.” But that should pose little obstacle to its worldwide appeal, boosted by some of the most huggable Disney characters since “Lilo & Stitch.”

While her 225 bunny brothers and sisters are content to stay on the farm, aspirational rabbit Judy Hopps ( Ginnifer Goodwin ) shows an early aptitude for conflict management, stepping in when a schoolyard bully hassles her classmates. Not so surprisingly, the offender happens to be a fox, though Judy doesn’t give in to such species typing, insisting that jerks come in all shapes and sizes. So, too, do heroes, and despite the limitations of her tiny scale, Judy enlists in the Zootopia police academy, struggling at first before outwitting her larger rivals.

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Graduating at the top of her class, Judy packs her bags for a job in the big city — which is like a cross between one of those shiny 21st-century Dubai complexes featuring indoor skiing and surfing, and a new Disney theme-park adjunct, complete with climate-specific subdivisions like Tundratown and Sahara Square. “There’s far too much to take in here,” as the opening scene of “The Lion King” promises (a movie whose stunning African savannah was downright simplistic compared with the world “Zootopia” has to establish), and Howard and Moore struggle to make their introduction anywhere near as impressive, despite leaning heavily on an unremarkable “I want” song called “Try Everything,” performed by Gazelle (Shakira), the veld’s sveltest pop idol (well-meaning sample lyric: “I wanna try even though I could fail”).

Doing justice to an elaborate new environment poses a familiar problem, slightly improved from last year’s “Tomorrowland,” in the sense that Judy (who probably should have grown up in town, like everyone else in Zootopia) takes a long train ride into the city, ogling the various districts as she passes. It’s a sequence worth studying a dozen times down the road just to catch all the tiny details, from the hippo-drying stations to the plastic hamster tubes, although it’s an awkward way to acquaint ourselves with the city.

In theory, Zootopia’s residents have evolved past distinctions of predator and prey, which might explain the small matter of cartoon biology: Whether tiny mice or hulking rhinoceroses, all animals have front-facing eyes, upright postures and opposable thumbs — a throwback to the delightful character design featured in Disney’s “Robin Hood” (1973), which reimagined a human world populated entirely by animals, integrating characteristics of each species into the ways different creatures move.

In progressive-minded Zootopia, a moose can co-anchor the evening news with a snow leopard without it turning into an episode of “When Animals Attack!” That said, even the most basic social interactions remain tense, as the city’s caste system matches animals to the roles that suit them best (the DMV is all-too-accurately staffed by slow-moving sloths, for example), while still adhering closely to the hierarchy of the food chain (with a few amusing exceptions, including a cameo by “Pinky and the Brain” actor Maurice LaMarche as a Don Corleone-like arctic shrew).

As far as cops are concerned, it’s the big fellas — rhinos, tigers and Cape buffalo like Capt. Bogo (Idris Elba) — who are responsible for maintaining law and order. Judy may be the first to benefit from the new mammal-inclusion initiative devised by Mayor Lionheart (J.K. Simmons), but Bogo isn’t ready to trust her with a real investigation, placing the rookie on parking-meter duty while he assigns everyone else key roles in a major missing-persons case. If Bogo’s behavior smacks of species-ism, that’s no accident: The “Zootopia” screenplay (on which the directors share credit with Phil Johnston and co-helmer Jared Bush) actually turns real-world racial sensitivity issues into something of a talking point — as when Judy notes that a bunny can call another bunny “cute,” but it’s not OK when another animal does it.

While raising the subject should help encourage kids to look past surface differences in one another, it’s a bit misleading, since the movie is less about race than gender, dredging up equality issues that might have been fresher in the days of “9 to 5” and “Working Girl”: Judy is treated differently because she’s a woman, bonding most easily with Bellwether (baby-voiced comedienne Jenny Slate), the woolly assistant mayor who serves as Lionheart’s glorified secretary, and Clawhauser (Nate Torrence), the police force’s effeminate cheetah receptionist.

What, then, do we make of the tenuous alliance between Judy and trickster fox Nick Wilde ( Jason Bateman ), which — despite the obvious design similiarities — features none of the bloodthirsty tension shown between Brer Rabbit and Brer Fox in Disney’s half-forgotten/suppressed “Song of the South”? “Zootopia’s” relatively P.C. sensibility serves as a partial corrective to that shameful 1946 toon, offering a classic screwball-comedy relationship in which the natural rivals match wits, while she carries the added protection of a spray-based fox repellent. Getting no support from her police comrades, Judy enlists Nick in an investigation that leads her down the metaphorical rabbit hole and into the seedier side of “Zootopia,” from the Mystic Spring Oasis (a clothing-optional resort where animals frolic au naturel) to an ominous research facility housing predators that have “gone savage.”

The deeper they go, the more “Zootopia” comes to resemble such vintage noirs as “Chinatown” and “L.A. Confidential,” from its increasingly shadowy look to Michael Giacchino’s jazzy lounge-music score. Disney has been down this road before with “Who Framed Roger Rabbit,” although this time, there’s not a single human character to be found, while the adult-skewing jokes (mostly references to other movies) aren’t nearly so inappropriate for kids. Genre-wise, the film couldn’t be farther from the terrain of “Frozen” and other Disney princess movies, though it plays directly to the studio’s strengths, behind the scenes (we may not see every corner of Zootopia, but we know it’s been mapped out and conceptualized) and on screen, where the endearingly designed ensemble gives the animators plenty to work with.

Judy Hopps’ bright-eyed, foot-thumping energy and Nick Wilde’s cool, half-lidded reluctance offer a perfect study in contrasts, crossing what both actors gave in the recording booth with characteristics of the two species in question. In Goodwin’s case, the actress’s guileless optimism comes through loud and clear, telegraphed through her two long bunny ears, which fold back in fear and shame, but otherwise stand expectantly tall in the face of each new challenge. As her wily fox foil, Nick models a fast-changing map of Bateman’s smirks and eye rolls, his slouchy posture a deceptive cover for his slippery potential.

While it doesn’t have quite the same breakout potential as the Mouse House’s past few hits, “Zootopia” has shrewdly established both an environment that could be further explored from countless other angles (in a spinoff TV series, perhaps) and an odd-couple chemistry between Nick and Judy that carries on even after Gazelle returns for her obligatory grand finale.

Reviewed at Disney Studios, Burbank, Calif., Feb. 1, 2016. MPAA Rating: PG. Running time: 108 MIN.

  • Production: (Animated) A Walt Disney Studios Motion Pictures release and presentation of a Walt Disney Animation Studios production. Produced by Clark Spencer. Executive producer, John Lasseter.
  • Crew: Directed by Byron Howard, Rich Moore. Co-director, Jared Bush. Screenplay, Bush, Phil Johnston; story, Howard, Bush, Moore, Josie Trinidad, Jim Reardon, Phil Johnston, Jennifer Lee. Camera (color, widescreen, 3D), Brian Leach; editors, Fabienne Rawley, Jeremy Milton; music, Michael Giacchino; music supervisor, Tom MacDougall; production designer, David Goetz; art director, Matthias Lechner; heads of story, Trinidad, Reardon; head of animation, Renato Dos Anjos; animation supervisors, Nathan Engelhardt, Jennifer Hager, Robert Huth, Kira Lehtomaki, Chad Sellers; sound (Dolby Atmos), Addison Teague; supervising sound editor, Teague; re-recording mixer, David E. Fluhr, Gabriel Guy; visual effects supervisor, Scott Kersavage; stereoscopic supervisor, Katie A. Fico; associate producers, Nicole P. Hearon, Monica Lago-Kaytis; casting, Jamie Sparer Roberts.
  • With: Ginnifer Goodwin, Jason Bateman, Shakira, Idris Elba, J.K. Simmons, Nate Torrence, Jenny Slate, Tommy Chong, Octavia Spencer, Bonnie Hunt, Don Lake,Alan Tudyk, Tommy “Tiny” Lister, Raymond Persi, Katie Lowes, Jesse Corti, John DiMaggio.

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‘zootopia’: film review.

The energetic voices of Ginnifer Goodwin, Jason Bateman and Idris Elba lend life to Disney's amusing animated menagerie.

By Michael Rechtshaffen

Michael Rechtshaffen

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Just when it was looking like animated animal movies had run out of anything original to say, along comes the smartly amusing, crisply relevant Zootopia to handily demonstrate there’s still plenty of bite left in the anthropomorphic CG menagerie.

Boasting a pitch perfect voice cast led by a terrific Ginnifer Goodwin as a righteous rural rabbit who becomes the first cotton-tailed police recruit in the mammal-centric city of  Zootopia , the 3D caper expertly combines keen wit with a gentle, and very timely, message of inclusivity and empowerment.

Release date: Mar 04, 2016

The engaging result should easily appeal to all creatures great and small, giving this premium Walt Disney Animation Studios effort a paw up on spring break entertainment, not to mention the summer arrival of Universal’s animated The Secret Life of Pets .

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Cannes: john lasseter previews pixar, walt disney animation slates.

As the Zootopia Police Department’s sole bunny officer, idealistic Judy Hopps (Goodwin) discovers that breaking barriers can be an uphill climb, especially when the other cops in the force are mainly of the more imposing elephant/rhino/hippo ilk.

Although intrepid Judy can’t wait to collar her first perp , Bogo ( Idris Elba), Precinct 1’s gruff cape buffalo police chief, has other plans, assigning her to parking duty, where she proves her worth by writing 200 tickets before noon on her first day.

But when a number of Zootopia’s residents abruptly go missing, Bogo gives Judy the green light to do some big time police work and she finds herself partnering up with Nick Wilde ( Jason Bateman ), a sly, world-weary scam artist of a fox, in a 48-hour bid to crack the case.

Nimbly directed by Byron Howard ( Tangled , Bolt ) and Rich Moore ( Wreck-It Ralph ), along with co-director Jared Bush, who shares screenplay credit with Phil Johnston, the romp serves up plenty of sharply observed satire (a DMV manned entirely by sloths is played to hilariously protracted effect) wrapped up in judicious life lessons that never feel preachy or shoehorned-in.

'Zootopia' Sloth Trailer

While Goodwin and Bateman are a voice-casting dream team come true as a dysfunctional duo who learn to follow their instincts over preconceived notions, they’re joined by a nicely diverse supporting ensemble that also includes J.K. Simmons, Tommy Chong, Octavia Spencer and Shakira as a gazelle pop star who performs the film’s original song, “Try Everything,” co-written by hitmakers Sia and Stargate .

Also making their lines count are Jenny Slate as a not-so-sheepish sheep who serves as Zootopia’s predator-averse assistant mayor and Maurice LaMarsh as an arctic shrew version of Don Corleone named Mr. Big.

Visually, the Zootopia canvas pops — with or without the 3D glasses — thanks to a gorgeously vibrant color palette and whimsical architectural scales orchestrated by production designer David Goetz. His work is in keeping with an all-mammal parallel universe comprised of distinct microclimates like sunny Bunnyburrow , icy Tundratown and self-explanatory Little Rodentia .

Composer Michael Giacchino , meanwhile, in his first non-Pixar animated feature assignment, delivers a typically buoyant score, playfully tossing in music cues that pay affectionate homage to Bernard Herrmann and Nino Rota.

Distributor: Disney Production company: Walt Disney Animation Studios Cast : Ginnifer Goodwin, Jason Bateman, Idris Elba, Jenny Slate, Tommy Chong, J.K. Simmons, Octavia Spencer, Shakira, Maurice LaMarsh . Directors: Byron Howard, Rich Moore Screenwriters: Jared Bush, Phil Johnston Producer: Clark Spencer Executive producer: John Lasseter Production designer: David Goetz Visual effects supervisor: Scott Kersavage Editors: Fabian Rawley , Jeremy Milton Music: Michael Giacchino Casting director: Jamie Sparer Roberts

Rated PG, 108 minutes

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zootopia

Review by Brian Eggert March 5, 2016

zootopia

Think about when the last time a Disney animated feature addressed issues of race and gender equality. Amid sore spots such as Song of the South (1946) and Dumbo (1941), maybe only The Princess and the Frog (2009) comes to mind. Going a long way to correct its past crimes and distance itself from typical princess fare like Frozen (2013), Disney’s Zootopia offers a twisting cop story in the vein of Chinatown (1974), but told in a modern world populated exclusively by animals. It’s a place where mammals of all shapes and sizes coincide in peace, where the mayoral lion (voiced by J.K. Simmons) works alongside his assistant sheep; where the titular city’s motto proclaims, “you can be what you want to be,” regardless of whether Nature designated you predator or prey. Animals have evolved beyond the otherwise ingrained rules of the animal kingdom, so if you’re a fuzzy-wuzzy bunny and you want to become a cop, you can do just that.

Such is the aspiration of young rabbit Judy Hopps (voiced by Ginnifer Goodwin, who stars as Snow White on TV’s Once Upon a Time ), a country girl who dreams of moving to the big city, where she hopes to dole out law and order behind a badge. She demonstrates her moxie in an early childhood scene where she breaks up a conflict between a bully fox and three meeker animals. Ever since, she and her family have had an unfortunate prejudice against foxes, which Judy, who graduates at the top her police academy, tries to dispense with before she moves to serve in Zootopia. In a police force dominated by bears, rhinos, and elephants, and overseen by a towering cape buffalo, Chief Bogo (Idris Elba), Hopps will be something of a joke. But Hopps has told herself, “I wanna try even though I could fail,” as suggested by the corny “I want” song by Shakira, via her pop-star character Gazelle.

Likewise, the filmmakers of Zootopia have tried to accomplish a lot for one animated feature, and fortunately, their only failure is including Shakira’s music twice in their film—early on in Hopps’ above-mentioned arrival in the city, and again over the end credits sequence. Everything in-between is effortlessly charming and gorgeously animated, as well as just plain good storytelling. A trio of directors including Byron Howard ( Bolt ), Rich Moore ( Wreck-It Ralph ), and Jared Bush also share writing duties with Phil Johnston and Jennifer Lee. That would otherwise be a lot of talent for traditionally singular roles, but there’s also a lot happening in the film. Bustling sidewalks of giraffe food vendors, hippo drying stations, and tiny mouse cars lend an incredible amount of detail to Zootopia. Lively characters rooted in established crime tropes purvey the story. And significant lessons about people amounting to more than what’s been customarily expected of them drive this progress-minded picture.

At first, Chief Bogo assigns rookie cop Hopps to parking-meter duty, a job she resents because she’s clearly being discriminated against for her size and gender. When, in a bid to prove herself, Judy stakes her job on cracking a case of missing mammals, she enlists the help of an unwilling cohort: a sly, grifting fox named Nick Wilde (Jason Bateman). Their investigation leads them to various familiar scenes, each paying tribute to well-known cinematic crime stories. They enter the office of an arctic shrew straight from The Godfather ; they find a lab run by a sheep under a yellow jumpsuit, and this Breaking Bad reference comes complete with colleagues by the name of Walter and Jesse. This wouldn’t be the first time Disney combined animation and crime into a fascinating mix. The classic Who Framed Roger Rabbit (1988) explored similar terrain in a film noir setup, albeit with humans at the center.

No humans reside in the animated world of Zootopia ; rather, the animals stand upright, speak, and inhabit their own society like characters from Disney’s Robin Hood (1973). They even wear clothes and consider it immodest not to. There’s a hilarious scene where Hopps and Nick investigate a nudist colony; of course, all the animals are rendered inert in terms of sexual organs, but the animators make great use of nude humor. Elsewhere, the viewer remains astonished by the intricacies of Zootopia itself (though not the degree where Big Hero 6 ‘s futuristic setting of San Fransokyo outshined the story). Divided into sectors such as “Tundratown” and the “Rainforest District”, the city is alive with diversity. One of the most photo-real sectors belongs to the rodent world, which is miniature even to Hopps when she chases a perp inside its tiny walls.

Of course, diversity itself remains the subtext of Zootopia ‘s proceedings, disguised as a detective yarn though they may be. The relationship between Hopps and Nick is strained more than once, given her regrettable lifelong prejudice against foxes, while others who judged Nick’s given species (a heartrending flashback depicts the origins of Nick’s crushed hope for equality) shaped his entire petty criminal lifestyle. Despite all the commentary, the film could hardly be called preachy. The conspiracy story is always the driving force, whereas prejudice is the subtext. Indeed, the filmmakers make light of the material with jokes that were clearly designed for adults in the audience. Hopps quips about how she’s naturally good at math, “Rabbits were born to multiply.” Later, she corrects someone for calling her “cute”—other bunnies can refer to her as “cute”, but it’s wrong for another species to use that word.

Suffice it to say, Zootopia is Disney’s most politically correct, knowing film. Too many of their animated features have been spoiled in subsequent years after looking back at the racial stereotypes therein, from the depiction of Native Americans in Peter Pan (1953) to Arabs in Aladdin (1992). This film creates a world that is fascinatingly ornamented and incredibly smart, where surprisingly deep characters survey the multifaceted animal metropolis. The characters talk fast (except at the sloth-operated DMV, easily the film’s best joke), their wit is sharp, and the visual gags are aplenty. Thankfully, the film also contains no shortage of heart or imagination. Michael Giacchino’s pulpy jazz score lends to the genre stylizations, while the story is captivating enough to have children and adults alike wondering what will happen next, and perhaps, bring a tear to their eye. With equal measures of animated beauty and socially responsible intelligence, Zootopia stands among Disney’s very best.

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Charming buddy-animal story promotes teamwork, perseverance.

Zootopia Movie Poster

A Lot or a Little?

What you will—and won't—find in this movie.

Kids learn about the difference between predator a

Follow your dreams; anyone can do/be anything if t

Judy is clever and determined, as well as an optim

Zootopia means well, and some representations, suc

Several scenes of danger, peril, and tension. Pred

Gazelle the singer wears glittery, "sexy" clothes;

Fairly frequent use of insults/rude words like "du

Real-world brand names get a Zootopia spin (like Z

Parents need to know that Zootopia is a clever, fast-paced animated Disney film set in a world of walking, talking, clothed animals that live peacefully together, having supposedly evolved past nature's rules of predator versus prey. The story about eager young cop Judy Hopps' (voiced by Ginnifer Goodwin)…

Educational Value

Kids learn about the difference between predator and prey animals and stereotypes about certain animals (e.g., that bunnies are dumb and foxes, wily). Kids also learn importance of seeing beyond the superficial to what an individual is really like.

Positive Messages

Follow your dreams; anyone can do/be anything if they work hard enough and believe in themselves. Individuals from different (even traditionally opposed) backgrounds can form powerful alliances if they look beyond those differences. Clearly urges viewers to look beyond stereotypes and assumptions to the individuals behind them, but when it tries to tackle racism using an animal metaphor, it sends conflicting messages (see Diverse Representations for more). Promotes empathy, courage, perseverance, and teamwork.

Positive Role Models

Judy is clever and determined, as well as an optimistic dreamer. At first her naivete causes harm to others, but through humility and perseverance, she becomes more well-rounded. Nick starts out as an unrepentant scam artist, but his friendship with Judy shows him that he can be more than the stereotypically shifty fox, just as Judy decided to be more than a carrot-growing bunny. Characters in positions of power turn out to be less than trustworthy, but they face consequences and learn lessons.

Diverse Representations

Zootopia means well, and some representations, such as having Judy as a determined female lead or Shakira voicing the flawless diva Gazelle, generally succeed. Voice actors of color in supporting roles include Idris Elba, Octavia Spencer, and Tommy Chong. But when the film tries to tackle racism using an animal metaphor, it sends conflicting messages: It repeatedly says stereotypes are bad but then proceeds to show predators who live up to their stereotypes of being vicious -- a trait that's "based on biology," as Judy says. The movie then contorts itself trying to show how Judy was wrong, but reinforces ethnic stereotypes at the same time: An Indian elephant is a yoga instructor, Italian mice are mobsters, etc. References to Blackness are mishandled. In one scene, Nick digs his hand into a sheep's Afro-like hair as Judy says, "You can't just touch a sheep's wool. " The invasive act feels uncomfortable to watch because it's modeled by a main character and treated as a joke by the script. And one of the film's most frightening characters is a black jaguar that's "gone savage" -- he's large, muscled, violent. Fatphobic portrayal of Officer Clawhauser, who's always snacking and drinking soda. Commentary on policing and sexism, as Judy strives to be the best police officer she can be in a male-dominated workplace, only further cements that Zootopia bites off more than it (and its nearly all-White filmmakers and voice actors) could chew.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Several scenes of danger, peril, and tension. Predators "go savage" and try to attack other animals, including an intense chase scene involving the main characters and an out-of-control jaguar. Jump-scare moment when a "wild" animal being held captive leaps angrily in his cell, scaring Nick and Judy. Another upsetting scene when it seems a friend has turned on someone he cares about. Creepy moments in dark places (car lot, buildings) as characters investigate a missing mammal case. Chases and fighting (including on a moving train). Explosion/crash. Mobster has Nick and Judy kidnapped and threatens to "ice" them (drown them in frozen water), but he doesn't go through with it. Antagonists with dart guns get ready to shoot Nick and Judy. A young fox bullies a young bunny, shoving her and clawing her across the cheek; in another sad scene, a young fox is bullied by those he thought were friends. Some of the large animals/predators are intimidating.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Gazelle the singer wears glittery, "sexy" clothes; she and her tiger dancers dance somewhat suggestively. A "naturalist" club is a place for animals who are "nudists" to commune together without clothes (Judy is shocked, but human viewers won't be, as that's how we see animals all the time).

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Fairly frequent use of insults/rude words like "dumb," "jerk," "crazy," "loser," "stupid," "moron," "butt," "shut up," "oh my God," etc.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Real-world brand names get a Zootopia spin (like Zuber instead of Uber or ZNN instead of CNN). Many offline product tie-ins, from toys to books, games, and more.

Parents Need to Know

Parents need to know that Zootopia is a clever, fast-paced animated Disney film set in a world of walking, talking, clothed animals that live peacefully together, having supposedly evolved past nature's rules of predator versus prey. The story about eager young cop Judy Hopps' (voiced by Ginnifer Goodwin ) investigation involves chase scenes (one is prolonged and particularly intense) and jump-scare predator attacks, as well as an explosive crash, sneaking around in dark rooms, allusions to mob activity, kidnapping, threatened torture (a crime boss wants to "ice" key characters -- i.e., throw them in frozen water to drown), and bullying. No one is seriously hurt, but there are times when it seems that they have been or will be. Expect regular use of insult language like "stupid," "jerk," "dumb," "butt," etc., humor related to "naturalist" animals who choose not to wear clothes, and some sexy, sparkly ensembles worn by pop star Gazelle ( Shakira ). There are a lot of jokes for adults that will go way over kids' heads (references to The Godfather , the DMV, and Breaking Bad , for instance), and the film's attempts to reference real-world prejudice and racism falter. But there's plenty for younger audiences to laugh at, and it all comes wrapped in positive (if imperfect) messages about courage, empathy, tolerance, and teamwork. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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  • Parents say (187)
  • Kids say (312)

Based on 187 parent reviews

Not for little kids

I love this movie, what's the story.

ZOOTOPIA is set in a world where walking, talking, "civilized" animals live in general harmony with one another, regardless of whether they're predator or prey. When small-town rabbit Judy Hopps (voiced by Ginnifer Goodwin ) achieves her childhood dream of becoming the first rabbit to join the Zootopia Police Department, Chief of Police Bogo ( Idris Elba ) initially relegates her to a safe but boring parking-duty assignment. Meanwhile, the rest of the ZPD is busy investigating 14 missing-mammal cases -- all predators. One day on the job, Judy encounters sly fox Nick Wilde ( Jason Bateman ), who cheerfully hustles her. But she ends up hustling him right back after promising a worried otter that she'll find her missing husband: With only 48 hours to crack the case if she wants to keep her badge, Judy realizes her best bet is to enlist Nick -- who has plenty of connections -- to help her figure out who's behind the predator kidnappings that are threatening Zootopia's peace.

Is It Any Good?

Clever and heartwarming, this animated adventure is equal parts buddy-cop comedy, fish-out-of-water tale, and whodunit mystery. With its vibrant visuals and simple but evocative storyline, Zootopia is a talking-animal pic worth watching with the whole family. Judy and Nick's repartee is reminiscent of classic screwball comedies, and the plot's twists are a throwback to noir films in which the culprit is never who you think. Although the trailer gives away one of the movie's funniest scenes -- when Judy and Nick go into a DMV run entirely by sloths moving slower than molasses -- there are plenty more laughs and memorable bits to make both kids and grown-ups laugh.

And the voice casting is spot on: Goodwin is wonderful as the constantly energetic, optimistic Judy -- who may have gotten into the police academy thanks to the mayor's "mammal inclusion program" but who goes on to prove that even a cute bunny has what it takes to take down bad guys -- while Bateman has the ideal cynical voice to portray the hilariously jaded Nick, who's a fast-talking charmer with a knack for knowing everything he can about Zootopia's movers and shakers. Elba's robust baritone is perfectly paired with the brusque water buffalo police chief. Other supporting characters include veteran voice actor Maurice LaMarche doing an excellent Marlon Brando impression to play tuxedoed crime boss Mr. Big, and Tommy Chong as a "naturalist" life coach yak. And then there's Shakira 's pop star Gazelle, who sings a catchy theme song that captures the spirit of the movie: "Try Everything." In other words, be who you want to be, not who others expect you to be.

Talk to Your Kids About ...

Families can talk about Zootopia 's messages. How well does it deliver its commentary on stereotypes ? What characters defy them, and are there any characters that still fall into stereotypes?

Do you think Judy is a positive role model? How does she demonstrate courage , perseverance , and empathy ? Why are those important character strengths ? What about Nick? Why is their teamwork unique?

Do you agree with Nick when he says that "you can only be what you are -- sly fox, dumb bunny"? How does his opinion change over the course of the movie? How do he and Judy change the way the other thinks?

How does the movie address bullying ? How did being bullied when they were little affect both Judy and Nick? How did they react to it? What does Judy find out about her bully later on, and what can we learn from that?

Do you think it's OK for movies aimed at kids to include humor that only adults will understand? Does it matter if the jokes are racy rather than just referencing things kids aren't familiar with?

Movie Details

  • In theaters : March 4, 2016
  • On DVD or streaming : June 7, 2016
  • Cast : Ginnifer Goodwin , Jason Bateman , Jenny Slate , Idris Elba
  • Directors : Byron Howard , Rich Moore , Jared Bush
  • Inclusion Information : Gay directors, Female actors, Black actors
  • Studio : Walt Disney Studios Motion Pictures
  • Genre : Family and Kids
  • Topics : Friendship , Great Girl Role Models , Wild Animals
  • Character Strengths : Courage , Empathy , Perseverance , Teamwork
  • Run time : 108 minutes
  • MPAA rating : PG
  • MPAA explanation : some thematic elements, rude humor and action
  • Awards : Academy Award , BAFTA , Common Sense Media Award , Common Sense Selection , Golden Globe
  • Last updated : January 31, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

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Fantasy films aimed at kids don’t have to have political messages, but when they do, they should either be internally consistent, or work through the contradictions in terms that kids can apply to the real world. “Zootopia,” a fantasy set in a city where predators and prey live together in harmony, is a funny, beautifully designed kids’ film with a message that it restates at every turn. But if you think about that message for longer than five minutes, it doesn’t merely fall apart, it invites a reading that is almost surely contrary to the movie’s seemingly enlightened spirit: discrimination is wrong, but stereotypes are stereotypes for a reason, and it’s not easy for members of a despised class to overcome the reasons why the majority despises them, so you gotta be patient.

Ginnifer Goodwin (“Big Love”) voices Bunny Hops, a small town rabbit who’s told that she can’t be a police officer in Zootopia because there’s never been a rabbit police officer. (The job tends to be done by predators and large herbivores—like a water buffalo that’s become a police captain, voiced by Idris Elba.) Hops makes it through police training anyway and gets assigned to meter maid duty, to the relief of her carrot farmer parents ( Bonnie Hunt and Don Lake ), who gave her fox repellent as a going-away present. They had good reason to give her fox repellent: the fox is one of the rabbit’s mortal enemies, and when Judy was child, a fox cornered her at a county fair, insulted her for being a bunny, and slashed her face with his paw. (This is a slightly more intense kid-flick than you might expect, given how many adorable animals are in it.)

Of course Hops ends up partnered with a red fox named Nick Wilde ( Jason Bateman ), a small-time hustler who reluctantly helps her investigate the disappearances of a dozen predators. I won’t reveal exactly what the mystery is here (it’s a pretty good one) except to say that it invites kids and parents to talk about nature versus nurture, and the origins and debilitating effect of stereotypes.

But this turns out to be not such a great thing once you get deeper into the movie. Because people are not animals, I dread thinking about the “logical” conclusions to which such conversations will lead. The film isn’t wrong to say that carnivores are biologically inclined to want to eat herbivores, that bunnies reproduce prolifically, the sloths are slow-moving (they work at the DMV here), that you can take the fox out of the forest but you can’t take forest out of the fox, and so on. If you think about all this as an analogy for the world we live in (particularly if we live in a melting-pot big city like Zootopia) and and then ask yourself which racial or ethnic or societal groups (cops, businesspeople, city bureaucrats) are “predators” and which are “prey” (for purposes of metaphor translation), you see the problem. "Zootopia" pretty much rubber-stamps whatever worldview parents want to pass on to their kids, however embracing or malignant that may be. I can imagine an anti-racist and a racist coming out of this film, each thinking it validated their sense of how the world works.

“Zootopia” is constantly asking its characters to look past species stereotypes, and not use species-ist language or repeat hurtful assumptions. “Only a bunny can call another bunny ‘cute,’” Hops warns a colleague It’s filled with moments that are about overcoming or enduring discrimination. “Never let them see that they get to you,” Wilde advises Hops. And there are acknowledgments of the destructive self-hatred that discrimination can cause. Many of the animals make self-deprecating jokes at the expense of stereotypes about their species (such as Hops volunteering to do math for Wilde, telling him, "If there's one thing we bunnies are good at, it's multiplying"), and there's a fairly intense flashback which reveals that Wilde became a hustler because other animals hazed him as a pup while repeating anti-fox stereotypes, and responded by embracing his species' caricature and becoming the foxiest fox anyone had seen. This all seems clever and noble until you realize that all the stereotypes about various animals are to some extent true, in particular the most basic one: carnivores eat herbivores because it's in their nature. (Yes, readers, I know, there are tigers who've been taught to snuggle with lambs, and I've seen the same memes with cats and dogs snuggling that you have; I mean in general.)

It might seem weird that I’m dwelling on this aspect of “Zootopia,” which is directed by Byron Howard & Rich Moore and co-directed by Jared Bush , because the movie is entertaining. The thriller plot, which borrows rather generously from “48 HRS” and every cop drama involving governmental conspiracy, is smartly shaped   It’s hard to imagine any child or adult failing to be amused and excited by parts of it. The compositions and lighting are more thoughtful than you tend to get in a 3-D animated film starring big-eyed animals who speak with the voices of celebrities. And there are a few sections that are transportingly lovely, in particular any sequence involving the pop star Gazelle (voiced by Shakira), and Hops' high-speed train ride towards and through Zootopia, which introduces the city's different terrains (including frozen tundra and misty rainforest) while leaving room for subsequent bits of spelunking (a foot chase through rodent town lets Hops know what it feels like to be a giant). Some of the biggest laughs come from obvious gags that you know the writers couldn't resist, such as the bit where Idris' water buffalo captain says they can't start the morning briefing without acknowledging the elephant in the room. If you decide not to think about the metaphor that the film is built around, it's an enjoyable diversion, made with great skill.

Still: is it too much to ask that a film that wears its noble intentions like a jangling neck collar be able to withstand scrutiny? If "Zootopia" were a bit vaguer, or perhaps dumber and less pleased with itself, it might have been a classic, albeit of a very different, less reputable sort. As-is, it's a goodhearted, handsomely executed film that doesn't add up in the way it wants to.

Matt Zoller Seitz

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Zootopia (2016)

Rated G for some thematic elements, rude humor and action.

108 minutes

Ginnifer Goodwin as Lieutenant Judy Hopps (voice)

Jason Bateman as Nick Wilde (voice)

Shakira as Gazelle (voice)

Idris Elba as Chief Bogo (voice)

Octavia Spencer as Mrs. Otterson (voice)

J.K. Simmons as Mayor Lionheart (voice)

Alan Tudyk as Duke Weaselton (voice)

Jenny Slate as Bellwether (voice)

Bonnie Hunt as Bonnie Hopps (voice)

Tommy Lister as Finnick (voice)

Tommy Chong as Yax (voice)

Kristen Bell as Priscilla (voice)

Katie Lowes as Dr. Madge Honey Badger (voice)

Josh Dallas as Frantic Pig (voice)

John DiMaggio as Jerry Jumbeaux Jr. (voice)

Nate Torrence as Officer Clawhauser (voice)

Maurice LaMarche as Mr. Big (voice)

Kath Soucie as Young Nick Wilde (voice)

Mark Smith as Officer McHorn (voice)

  • Byron Howard

Co-Director

  • Phil Johnston

Writer (story)

  • Jennifer Lee
  • Jim Reardon

Writer (head of story)

  • Josie Trinidad

Writer (additional story material)

  • Dan Fogelman

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Legal scholar and Black feminist Kimberlé Crenshaw coined the term  intersectionality  in 1989 in an essay examining the ‘multidimensionality of marginalized subjects’ lived experiences’ (Crenshaw, 1989: 139). Crenshaw uses the analogy of a car crash at a four-way intersection to explain how multiple forms of oppression can intersect. If an accident happens at an intersection, cars travelling from any number of directions could have been the cause. Crenshaw stresses that if a black woman is harmed at the intersection it is unclear which ‘car’ is responsible for the harm: racism, sexism, or both. She argues that this is how we can best understand the intersecting dimensions of oppression. Crenshaw’s analysis was one of the first to acknowledge that gender concerns were not felt universally; gender, as explored by white western feminists, had traditionally been taken to mean ‘white women’, with no nuance of how people of different races, ethnicities, classes and backgrounds experienced gender.

Zootopia , a Disney animation critically acclaimed as ‘thought-provoking’ (Genzlinger, 2016), ‘subversive’ (Travers, 2016) and ‘the most important film you [might] see this year’ (Lucas, 2016), has been seen by some to capture the spirit of Crenshaw’s theory. Zootopia follows the anthropomorphised story of Judy Hopps, a hard-working bunny who becomes the first of her kind to be recruited to the police force, and her friendship-cum-partnership with a cunning trickster fox called Nick, all set in a ‘utopia where the predator/prey distinction no longer applies’ (Collin, 2016). The political ‘agenda’ of the film becomes apparent early on; Judy is discriminated against in the police, her duties reduced to ‘meter maid’ despite being more than qualified, stereotyped as ‘too emotional’ and called a ‘token’. 10% of the animals in living in  Zootopia  are predators, making them the ‘minority group’. Remarks like ‘I have a predator friend’ and ‘you can’t just touch a sheep’s wool!’ allude to the racial implications of the story. Exploitation of inter-species fears and prejudice through scaremongering are rife. Predators are told to ‘go back to the forest’; an increasingly familiar and unsettling sentiment in our post-Brexit, Trump world.

Feminist blogger Laci Green highlights some of the key feminist themes of the film

Understanding intersectionality has helped me to get my head around the fact that gender is often not the most disabling factor in someone’s life. Zootopia captures this perfectly for me through Judy’s speech at the press conference, where she claims that biological factors have meant that ‘predators are reverting back to their primitive savage ways’.

Despite seeing Judy as the primary victim of oppression until this point, it becomes clear that her privilege as a member of the majority species not only gives her a platform, but also denies her understanding of the systemic experience of species-based (read: racial) discrimination. This moment not only echoes the academic debate on intersectionality, through Judy’s characterisation of the colonial, Othering ‘Western feminist discourse’ (Mohanty, 1991: 52), but also highlights just how well-intentioned, ‘nice’ people are not immune to the effects of bias and privilege, regardless of whether or not they also experience discrimination. This scene prompted me to think of some of my own naïve experiences as a white feminist; attempting to be an ally but in fact making huge mistakes.

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The film has its flaws. The predators are often the ones in power, though they are still discriminated against, and gendered and racial dynamics are somewhat confused. It’s difficult to understand which animals represent which demographic group. But as intersectionality is about the inability to know where each bias comes from, this could have been a conscious choice on the part of the filmmakers. The messiness of racial and gendered elements potentially help us to consider just how complex and nuanced difference, diversity and intersectionality really are. It also helps frame how identities are complex, and often overlap. Further still, the fact that we see predators in positions of power, shows not only how racism can be internalised (in that predators at the top of the police force are willing to act against predators like themselves) but also how structural inequalities can still persist despite people from the minority group being visible in high-level positions. The fragmentation of ‘predator’ and ‘prey’ identities also highlights the fact that how racial stereotypes and profiles are not necessarily monolithic.

So, what does Disney’s feminist education mean for the next generation of ‘woke’ millenials? Is this feminist education welcome? With the potential of Elsa becoming the first LGBT+ Disney princess in the sequel to Frozen (Flint, 2016), surely we can only celebrate coverage of the social justice and equality agenda in mainstream media? Or does a more critical look at Disney’s venture into politics suggest that films like Zootopia irresponsibly misrepresent real-life challenges without offering any real-life solutions for viewers? Perhaps most challenging is the fact that Disney needs to hide its message behind a confused allegory, rather than confronting sexism and xenophobia head on.

I think it’s great, but we’re still awaiting Crenshaw’s review…

Bibliography:

  • Cloudjumper011 [Geometry Dash] (2016) zootopia -press conference scene- [Full HD] . Available at: https://www.youtube.com/watch?v=uKnTfl5C2bM&feature=youtu.be (Accessed: 8 December 2016)
  • Collin, R. (2016) ‘Zootropolis is the Chinatown of talking animal films – review’, The Telegraph , 24 March [Online]. Available at: http://www.telegraph.co.uk/films/2016/04/14/zootropolis-is-the-chinatown-of-talking-animal-films—review/ (Accessed: 8 December 2016)
  • Crenshaw, K. (1989) ‘Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics’,  University of Chicago Legal Forum , pp. 139–67
  • Flint, H. (2016) ‘People want Disney to #GiveElsaAGirlfriend because of the lack of LGBT representation in their films’, Metro , 1 May [Online]. Available at: http://metro.co.uk/2016/05/01/people-want-disney-to-giveelsaagirlfriend-because-of-the-lack-of-lgbt-representation-in-their-films-5852430/ (Accessed: 5 December 2016)
  • Genzlinger, N. (2016) ‘Review: In ‘Zootopia,’ an Intrepid Bunny Chases Her Dreams’, The New York Times , 3 March [Online]. Available at: http://www.nytimes.com/2016/03/04/movies/zootopia-review.html?_r=0 (Accessed: 8 December 2016)
  • Lucas, S. (2016) ‘Why Disney’s Zootropolis might be the most important film you see this year’, The Conversation , 30 March [Online]. Available at: http://theconversation.com/why-disneys-zootropolis-might-be-the-most-important-film-you-see-this-year-57007 (Accessed: 8 December 2016)
  • Mohanty, C. T. (1991) ‘Under Western Eyes: Feminist Scholarship and Colonial Discourses’ in Mohanty, C. T., Russo, A. & Torres, L. (eds.) Third World Women and the Politics of Feminism . Bloomington: Indiana University Press, pp. 51-80
  • mtv braless (2016)  Is Zootopia an Intersectional Feminist Utopia?  Available at:  https://www.youtube.com/watch?v=VrJ5keORfrE (Accessed: 3 December 2016)
  • Superhero Feed (2016)  ZOOTOPIA Movie Clip – Assistant Mayor Bellwether (2016) Disney Animated Movie HD . Available at: https://www.youtube.com/watch?v=uOaxu5nSsfY (Accessed: 3 December 2016)
  • Travers, P. (2016) ‘Zootopia’, Rolling Stone , 3 March [Online]. Available at: http://www.rollingstone.com/movies/reviews/zootopia-20160303 (Accessed: 8 December 2016)

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Home / Essay Samples / Entertainment / Movies / Zootopia

Zootopia Essay Examples

The theme of predator and prey distinctions in zootopia.

In the film Zootopia, a major theme is the classification of characters in the category of predator and prey, with the feral or predatory characters being viewed as a danger to the society. The film faces a challenge in effectively exhibiting this to audiences through...

The Role of Voice in the Film Zootopia

Zootopia is an animated comedy film produced by Walt Disney Studios. It was directed by Byron Howard and Rich Moore. The movie stars actors Ginnifer Goodwin, Jason Bateman, Idris Elba and Jenny Slate. The movie tells the story of an unlikely partnership between a rabbit...

Organizational Behavior Concepts in the Film Zootopia

Disney’s animated blockbuster, Zootopia, takes place in a world where animals behave like humans. The story is about a rabbit and a fox who work together to solve the mystery of the fourteen missing mammals in their city. One of the protagonists in the film...

Discriminatory Ideology in the Movie Zootopia

Zootopia, the 2016 animation Disney masterpiece, is the perfect symbolism of the modern myth about a contemporary multiethnic society, where all the animals, prays and predators, live together in peace, in a perfectly functioning society where each animal has its place in economy, politics and...

Analysis of Societal Issues in the Film Zootopia

In spite of the overwhelming success of the film, Zootopia was originally supposed to have a completely different protagonist. The movie was going to revolve around Nick Wilde and his journey of proving he didn’t commit a crime he was framed for. All of the...

The Comparison of Little Red Riding Hood and Zootopia

Stories change over time depending on the time period, context, and audience for which a text was written. Texts are retold in order to show the challenges that arise in the modern era in a way that resonates well with the audience. Little Red Riding...

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