Over four years ago, our hosts watched both versions of Disney's The Shaggy Dog, and it was such a rough experience that not even our Summer of Sequels could get us to watch the follow-up to the 1959 original. The time has finally come, however, and we are pleased to announced that THE SHAGGY D.A. takes every single aspect of this kook-a-dook premise and knocks it right out of the park. Starring several of our favourites of the Disney 60s and 70s live action fare all doing some of their best work, dynamite slapstick comedy, and a man running around in a dog suit, there's no shortage of fun to be had or talked about.

Not going to lie to you, D-Lovers, this episode isn't almost 90 minutes because we had a whole lot to say about Disney's BEDTIME STORIES. Sure, it's acceptable enough family fare with some serious problems that we definitely get into. But given this is the only Disney movie that features Adam Sandler, the reality is we spend a large chunk of time discussing our beloved Sandman in general, both in this movie, in others, and his career in general. But don't worry, we won't be pivoting into an Adam Sandler podcast anytime soon - our hosts just needed to get this out of their system.

In this Minnie Mouse-isode edition of the Summer of Sadness, we attempt to unpack the enigma that is Tim Burton. A man whose whole aesthetic and, well, everything screams "outsider" yet whose only dreams were to draw animation for Disney. And despite an awkward beginning, he would go on to direct several successful movies for them. Tim Burton may be a riddle we'll never quite solve, but his history and philosophies, such as they are, sure are fun to discuss.

The time has come for us to bid a not-so-fond farewell to Medfield College, along with its students and faculty and the handful of criminals who keep getting wrapped up in their science-based shenanigans. But this time the titular STRONGEST MAN IN THE WORLD might not be the young, round-faced Kurt Russell as we've come to expect, but the nasally-voiced, foot corn-infested Dean Higgins. Or maybe it's both of them, who can say. All our hosts know for sure is that for the final film in a Disney trilogy, this movie is a total mess. 

It's not every day you get a movie that the House of Mouse was so proud of, they stick their name in the title. But it's also not every day you get superstar Bruce Willis to star alongside your latest and greatest lab-grown little ragamuffin child actor Spencer Breslin. Yes, DISNEY'S THE KID sure is special. If only it made a lick of sense in pretty much any way, shape or form.

This summer keeps getting weird so we'll keep charging ahead with our Summer of Sadness, exploring the Disney films of Tim Burton. In this week's entry, Timmy B is once again kicking back in the producer's chair as some close collaborators from a well-loved stop-motion film have another kick at that can with JAMES AND THE GIANT PEACH. But while stop motion, Roald Dahl, and Tim Burton should be a match made in heaven, this one falls just a little short for our hosts. Have a listen and find out why!

Small technical note, we lost a few minutes of this week's recording, which may or may not be noticeable. If you don't notice it, then ignore this. If you do, well, this is why you noticed something off. Our apologies, such are the pitfalls of remote recording during a pandemic!

Fifty-nine years after releasing their experimental musical/film experiment Fantasia, Disney released it's follow-up, FANTASIA 2000. And so too do our hosts release an episode on the latter, 254 episodes after the original. And while the first entry could at the very least be applauded for being something wholly original for its era, this follow-up feels about as safe and middle-of-the-road as you can get. But hey, the interstitial bits with various celebrities sure are fun to talk about.

This week, our hosts wrap up the last of Disney's package films with FUN AND FANCY FREE. By now, we're all well aware that these movies were cost-saving measures for the struggling film studio in the 1940s. But the fact that two of the three of our hosts have distinct memories of Mickey and the Beanstalk wrapped in two entirely different packages than the nightmare birthday party version we watched in this one, really drives home how much a fan of recycling this content Disney has been. As for Bongo...the less said about Bongo, the better.

This week's movie is definitely a weird one, even beyond most of Disney's 80s fare. Because in many ways, CHEETAH is like a film displaced in time. It reminds our hosts of so much of the 60s and 70s output of the House of Mouse, what with the precocious yet utterly stupid teen protagonists, general cultural insensitivities, and a gambling subplot of all things. It makes sense that this movie came out when it did, though - right as the Disney Renaissance was getting started - because slipping through the cracks and getting lost from pop culture's collective memory is about as much as it deserves.

You gotta hand it to them, Disney had it all figured out in the 90s. Coming off an animation renaissance that basically saved the company, they had their fingers firmly on the pulse of what kid and families wanted in their movies. That's how we got MY FAVORITE MARTIAN, based on the 1960s sitcom that 90s kids just loved; starring Jeff Daniels and Christopher Lloyd, two actors who really resonated with the youth of the day. Yes, Disney really set themselves up for success with this one, you have to wonder how it possibly could have gone this wrong.

Our exploration of the Disney films of Tim Burton continues on our Summer of Sadness. In this episode, we see what happens when Timmy B takes a back-seat producer role in the sequel to our inaugural entry, ALICE THROUGH THE LOOKING GLASS. For better or for worse, without Burton's direct involvement Wonderland (or Underland, or whatever) has been turned down but about 30%, but that doesn't mean there's any shortage of weirdness to talk about with this franchise - from Johnny Depp's accent and affectation choices to Sasha Baron Cohen's sexual energy (or the lack thereof) to altogether too much time spent on the framing device (again).

Ostensibly, this week's film is about a man who rescues three orphaned bear cubs from certain death and raises them in spite of opposition and criticism from the community around him. And when Disney's THE BEARS AND I came out in 1974, that's almost certainly how audiences received it (assuming anyone actually saw this movie). But decades later, let's just say this movie lands in an entirely different way that was almost certainly not intended.

In this week's episode we're returning to the wonderful world of DCOMs with AVALON HIGH. At first blush, this particular Disney Channel movie doesn't seem like anything remarkable - just another Camelot story to torture our hosts with, if anything. But it doesn't take long for it to become clear this is the most TV movie of all TV movies, boarding on parody if it wasn't so darn earnest. Not so much a wild ride as it is a slow-motion train wreck that delights to no end.

Grab your life jackets and make sure your compass is secure, D-Lovers, we're heading back onto the ocean this week...actually it's looking pretty stormy out there, maybe we should stay on land. Leave navigating this nasty nor'easter to the brave men of the coast guard, like in Disney's THE FINEST HOURS. Based on the true story of a daring and pretty miraculous rescue, most of our hosts found this story appropriately thrilling and engaging...but for one it played into some very specific and pretty intense fears about deep, dark, cold, rough water and what it can do to big boats and small bodies alike. 

It's that time of year again, and since this summer feels a little bit (ok, a lotta bit) different thanks to, well... *gestures vaguely toward outside*, our hosts thought it would be appropriate if this year's  monthly series had a specific air of gloominess about it. So welcome to The Summer of Sadness: The Disney Films of Tim Burton. And there's no better place to start than with the film that really feels like it cemented the modern era of Tim's filmmaking career - his kinda-sequel/kinda reboot/kinda nothing adaptation of ALICE IN WONDERLAND.

In many ways, THOSE CALLOWAYS is a subversion of your typical Disney movie. Rather than a dead mother, Lydia Calloway may be one of the best and strongest mother/wife figures we've seen. Rather than a happy family singing and dancing together, the Calloways have real issues with anger, alcohol and finances. Sadly, in other ways it's all too typical of Disney, especially when it comes to the studio's proclivity towards casual animal abuse. And there's the whole thing with Bucky Calloway turning from a sweet, if rather clueless boy into a raging, toxic male. And, craziest of all, their inexplicable love for God's worst creation. It's a mixed bag, is what we're saying. 

Happy 250th episode, D-Lovers! Your votes were cast and in a narrow victory THE EMPEROR'S NEW GROOVE won out to be the subject of this landmark episode - and you won't hear any of our hosts complaining. One of the most uniquely funny movies in Disney's animated canon, the only thing Vicky, Nolan and Jill love more than getting to share our collective adoration for this film is getting to deep-dive into the lesser-known story of the troubled development and production process this movie faced - and not only because it allows them to dunk on Sting for over 90 minutes.

It's one thing for Disney to be remaking their classics, but what happens when they decide to remake one of their relatively lesser-known films? Like say, one that heavily featured child abuse and alcoholism? Well in 2016 they did just that with PETE'S DRAGON, and the results may just surprise you - as they certainly surprised our hosts.

We're killing two films with one podcast this week on We Want The D, but not by doing an original and a remake the way we have in the past. This time, we're looking at SALUDOS AMIGOS, a four-movie package film from the early 1940s; and the 2008 documentary Disney made about the making of said package film, WALT & EL GRUPO. One wouldn't necessarily think the latter deserves the former, but it turns out the documentary is quite illuminating as to just why Disney made not one, but two movies of seemingly disconnected, cute but often generic short films set in South America. Plus is gives Vicky, Nolan and Jill an excuse to dive back into the psychology of Walter Elias Disney, one of our hosts' favourite pastimes. 

It's been a minute since We Want The D took a trip to the old west, and on paper, going there with none other than Roddy McDowall seems like a promising proposition for prospecting fun. Is Disney's THE ADVENTURES OF BULLWHIP GRIFFIN one of the better Disney westerns we've watched? That's definitely an argument that can be made. Is it a rollicking good time from start to finish worth a viewer's time and attention? Well, depends which host you ask. 

Ah the 90s. A time when eyebrows were skinny, you could bring metal objects in your carry-on on international flights, and films co-starring apes were all the rage in family entertainment. Of course Disney had to hop on that train as well, and do it bigger and better than anyone else with MIGHTY JOE YOUNG. Starring a massive gorilla and a fresh-faced Charlize Theron, is this movie a time capsule or a timeless classic? Vicky, Nolan and Jill discuss the film, as well as take a very necessary detour to pay homage to the late, great Bill Paxton.

We all know that Disney is a little remake-crazy, but it wasn't until this week's episode that it really sunk in HOW crazy. Because it turns out that UNIDENTIFIED FLYING ODDBALL is the third time we're watching a Disney adaptation of A Connecticut Yankee in King Arthur's Court in less than a year. But because this first adaptation (that we know of...) is from the 1970s, instead of a teenage boy or Whoopi, it's just some dude who travels "back in time" to Camelot to thwart the evil machinations of Merlin and Jim Dale, befriend an elderly King Arthur and his hetero(?) life mate, and totally weird out a poor peasant woman with his terrible notions of romance. Yet somehow this is still the best version of the story we've seen (so far...) - go figure.

All good things must come to an end, and so it is with no small amount of sadness that we bid farewell to our beloved Hayley Mills AKA Hayley Brando AKA the greatest child actor Disney ever had. THAT DARN CAT! was Hayley's last theatrical film for Disney, and to our hosts' delight they knocked it out of the park. There's great character actor faces, hilarious physical comedy, and even a fresh-faced Dean Jones brings his A-game in his first Disney role. Parting may be such sweet sorrow, but this movie definitely made it more sweet than bitter. 

The first two movies in Disney's Witch Mountain franchise were...wild to say the least. Between the flying winnebagos, the mind control devices and endless shots of cars reversing and peeling away, the movies were a barrage of strangeness. What we're saying is, RACE TO WITCH MOUNTAIN has quite the legacy. And while strange in its own special way - with nonsensical cameos, Men in Black antagonists and casualty-less train explosions - it does end up fitting quite cleanly into this era of family-friendly movies from Rock "The Dwayne" Johnson.

Gotta say, D-Lovers, we don't think Disney was trying particularly hard with this one. THE CASTAWAY COWBOY asks what would happen if a mid-nineteenth century Texas cowboy washed up on the shore of a Hawaiian island, and helped a widow convert her land from failing potato farm to thriving cattle ranch. The answer - not a whole lot. This time, it's more about the unintentional questions. Like, how far can our hosts' patience be stretched by a child actor who can only screech his lines? Or, how easily can Vincent McEveety get away with shooting a daring midnight cattle raid while filming at high noon?