It's been awhile since we've talked about a legitimate classic in the Disney animated canon, and Vicky, Nolan and Jill could think of no better installment to explore than a personal favourite for all of our hosts - The Sword in the Stone. It's got all the hallmarks of classic Disney - great animation, songs by the Shermans and memorable characters like Merlin, Mad Madame Mim and the new We Want The D mascot, Archimedes. It's also got a lot for our hosts to really dig into, like the possible tyrannical rule of Woolie Reitherman as a solo director, fat horny squirrels, and a strategic breakdown of a wizard's duel. A classic movie makes for a classic podcast, so get ready to blast off to Bermuda with us this week on We Want The D!

We're no strangers to controversy here at We Want The D. We've watched Peter Pan, Dumbo, The Sign of Zorro and many other Disney movies that have had less-than-ideal depictions of diverse peoples. But we've always managed to find solace in the fact that those movies are from another time, when attitudes and perceptions were more ignorant and less developed. So when it comes to 2013's THE LONE RANGER, we are at a bit of a loss in how anyone involved thought this movie was a-ok in its depiction of indigenous people, particularly in agreeing to let Johnny Depp star as Tonto. The result is our longest episode yet, which feels appropriate for a two and half hour movie that has so much to unpack we still feel like we left much of it unexplored at the end.

What would you do with a million dollars? Wait, let's be more specific: what would you do if you were a young boy with a million dollars in 1994? Your imagination may be running wild; but when Disney attempted to answer this simple question with BLANK CHECK, things somehow went horribly wrong. This week on We Want The D, Vicky, Nolan and Jill are providing a little education to go along with our regular goofs and gaffes, as we pick apart this movie the way it truly deserves - by seeing if it follows the fifteen essential beats every movie should adhere to as laid out by this film's very own author, Blake Snyder. Author of one of the most popular books on the craft of screenwriting, Snyder's work here may be (kinda) structurally sound, but you have to question what was going through his head when he came up with ideas for his pint-sized protagonist like a Roots fashion shows with his middle-aged limo driver or a romantic dinner date with a woman old enough to know better than to flirt with a prepubescent boy.