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kage-sama452 · 2 months ago

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A clip of the ending of the live-action Lilo and Stitch movie ended up on my feed, so y'all get to hear me bitch about it. Specifically, the idea of Nani giving up Lilo so she can go to a mainland college.

A. Fucking. US MAINLAND. College.

When we're out here doing SO MUCH trying to keep our Native Hawaiians home. Like, are you fucking serious? More Native Hawaiians (53%) now live outside of Hawaiʻi than within it! Only 23% of the Hawaiʻi population is listed as Native Hawaiian—and that number includes mixed-race individuals. (There’s mostly Mixed Plate Specials over here <3)

Think about that for a second. Out of well over a million people living in the islands, only around 300,000 are Native Hawaiian. That’s it.

And yeah, we can dig deeper into those statistics later, but for now, let’s just sit with how absolutely messed up it is that the underlying message of this Cash Grab L&S remake seems to be: “It’s good and right for Nani to give up her little sister to the state and go chase mainland dreams.”

Even worse? It’s Lilo who tells Nani to go. Like that’s supposed to be sweet or inspiring or something.

That is so freaking fucked up.

And it's such a gross misunderstanding of the issue WHY Nani shouldn't and WOULDN'T give her sister up.

Native Hawaiian children are more likely to be removed from their homes for neglect—not abuse.

Several studies have found:

Native Hawaiian kids were placed in care more often for neglect than non-Hawaiian kids. They are grossly overrepresented for being taken away because of neglect.

"But Angel, if these kids are being neglected, they SHOULD be taken away and put in a stable environment, right?"

Yes! If they actually ARE being neglected! And if neglect wasn't based on subjective standards that target Native families!

I went to a Hawaiian immersion school when I was in elementary school (Also because my brothers were in Special Education and this almost completely Native Hawaiian run school was the BEST for Special Education on the island) and did NOT know that Hawaiian kids were not the actual majority in Hawai‘i until I was in 7th grade and tossed in with the rest of the district in Middle school.

A good portion of those kids were in foster care.

Some were because of parental drug abuse or physical abuse, ect, (The local domestic violence shelter was up the road,) but a majority were from parents who were trying VERY hard to regain custody. Aunts and Uncles and Sisters and Brothers and Cousins and Tutus of all genders trying so hard to gain custody in a way that made it so it would be harder for them to be taken away.

Some reasons I have PERSONALLY seen given as to why Native Hawaiian children have been removed from their homes are:

"Inability to cope with parenting — (this is extremely subjective and is often a bullshit excuse to say that Native Hawaiian Caretakers aren't good enough. In the case I saw, it was because the mother was a teen mom, but she did a damn good job.)

Inadequate housing — (Which also includes having "too many people in the house”, when culturally many native Hawaiians live with extended family. Case in point was because the kids lived with their five cousins.)

Low or misused income — (Literally not having enough money when milk costs 10 dollars a gallon here…)

Broken families — (having a stepmom/stepdad, anything non-traditional.)

These aren't acts of violence against the kids. These are normal family lives. These kids would cry so hard about their home life, they wouldn’t focus on school, they’d act out, they’d hurt other kids and seek any sort of love and attention from stable adults.

Native Hawaiian kids are:

Overreported

Overseparated

Kept in the system longer

More likely to re-enter foster care

This isn't unique to Hawai‘i and I won’t pretend it is. Bias in child welfare systems has also been extensively documented in African American and Native American communities, with indigenous peoples especially being targeted, especially recently. In acts that can only be described as a continuation of the White Man’s Burden ideology and residential schools, often POC children are tossed into group homes that see them as little more than a paycheck and a chance to “save the poor little wretches from their people”.

The problem was that the system was built on its own narrow ideas of what “good behavior” looked like—usually the way white middle-class kids were expected to act.

The stories I heard and the things I saw made me understand that the system was not just flawed—it is actively hurting ‘ohana in our state. The reasons kids were taken weren’t always about danger or neglect.

It’s a quiet kind of violence, but it’s violence all the same. It fractures the very fabric of what makes a community strong—connections, histories, the ability to hold each other through hard times.

POC children do not do well in the US foster system because of the systemic racism present.

Not to mention that Lilo has behavioral issues and is obviously going through a lot after her parents' death. She's neurodivergent, a POC, and vulnerable now that her parents are gone.

Nani would be aware of these circumstances. She would never willingly give her sister to a system that is literally against her. And Tūtū can have Lilo removed from her home for anything from being “too old to be capable” to Lilo getting in trouble for violent behavior. (Which she's known for and likely will get worse now that the only person still alive from her immediate family is in FUCKING CALIFORNIA, WHICH, BTW, SENDS THEIR STUDENTS HERE TO STUDY MARINE BIO).

Yes, Nani is allowed to have a life outside of Lilo. She’s a 19-year-old who suddenly had to become a parent to her little sister after unimaginable loss. She’s doing it all alone—no real support system, no safety net, barely scraping by. She is SUFFERING.

But the beauty of the original Nani was that despite all that pain and pressure, she chose to fight tooth and nail for her sister. Because that’s her ʻohana. And as the original movie hammered home: ʻOhana means family. Family means nobody gets left behind or forgotten.

That wasn’t just a cute line or a throwaway bit. It was the theme of the story. It was a message about resilience, love, and keeping your loved ones together—especially in the face of colonialist systems that do try to tear families apart.

And Nani would know what would await Lilo if she were taken away—shuffled through the system, disconnected from her culture, her roots, her ʻāina. She’d be statistically more likely to end up homeless as soon as she turns 18. (Unfortunately this is a reality for so many foster kids I know.)

Yes, she left Lilo with David’s Tūtū. And yes, I’m sure David’s Tūtū is a lovely lady, even though she wasn’t in the original movie. But that’s full-on giving her sister up, letting go of custody and walking away for good. That’s not what the original Nani would do—and it sure as hell shouldn’t be painted as the “right” thing.

Lelau was one of those kids who was a real-life Lilo. (and Lilo was her obsession, ironically, she had so much Lilo and Stitch merch.) Lemme tell you a quick story about her.

She was my best friend for most of elementary school. She wasn’t “bad,” but she was different—emotional, lashed out and behaved in a way that was easy for adults to misread or just plain misunderstand.

Her older brother had been taken by child services too, but because he was quieter, more “compliant,” he stayed with their older sister who already had a big family. That sister was trying to keep everything together, but with her own kids to raise, the weight was heavy. Meanwhile, Lelau got bounced around between different foster homes and relatives’ places because the system said she didn’t “behave.”

I think about Lelau a lot. I wonder what she would have thought if she watched this trash as a child, and saw herself in this Lilo, and saw herself as more of a burden than she already did.

Because here’s the truth: kids like Lelau already think they’re the problem. They hear it every day, even if no one says it out loud. It’s in the sigh when they walk into a room. It’s in the way teachers pull away, or how other kids are told to “be patient” with them like they’re some sort of test. It’s in the case files that reduce them to diagnoses and risk assessments. And it’s especially in the “well-meaning” media that repaints trauma and neurodivergence as something to grow out of—or to be handled by someone else entirely.

What they don’t get to see nearly enough is the fight to keep them. The fierce, messy, uncompromising love of someone who says: You’re not too much. You’re not broken. You’re mine, and I’m not letting go.

That’s what the original Lilo & Stitch gave us. That’s what Nani was. She wasn’t perfect—she yelled, she struggled, she made mistakes. But she stayed. She kept showing up. And she refused to let the system take her sister. That’s the kind of story Lelau needed. That we all needed as a kid.

And yeah, the funny blue aliens were the real reasons we watched it as kids, but that doesn’t mean the message was lost on us.

So when I see these rewrites—this gross and horrible story where Nani gives up custody, where that decision is framed as “self-empowering” or “best for Lilo”—I feel sick. I know it’s just a story. But stories matter. Especially to kids who are already hanging on by a thread. Especially to kids like Lelau who don’t have stable adults around, who feel like a problem, who live every day waiting for someone to decide they’re too much and walk away.

Nani and other caregivers deserve better wages, free therapy, housing support, childcare, a goddamn village to help raise that child. Help shouldn’t mean losing the people they’re fighting for. Help should look like wrapping around both the kid and the caregiver. Keeping families together.

But the system doesn’t work that way—by design. It’s rooted in colonialism. It’s built to police poor families, brown families, Native families. It calls it “protection,” but it strips kids of their language, their culture, their names, and places them in homes that get paid to raise them out of context. That’s not safety. That’s assimilation.

Lelau got told again and again that her feelings were “too big,” her reactions were “bad behavior,” and that she needed to learn to “be good.” But what she really needed was someone to say, “I see you. I hear you. I get why this is hard. And I’m not going anywhere.”

She needed what Lilo got in the original story. A sister who would burn the world down if it meant keeping her safe. Her sister tried, god did that sister try, but it was so fucking hard.

I guess I just keep wondering how many kids are watching this reboot, this sanitized versions of their own pain, and slowly internalizing that they are the problem. That the most “loving” thing they can do is to “stop being the burden”.

But that’s not love. That’s the system talking. That’s white supremacy and capitalism in a child welfare costume. That’s the lie kids like Lelau are told every single day.

And I’m just so fucking tired of it.

If you’re gonna tell a story about broken families, about loss, about trauma, about Hawai‘i, then tell the truth. Don’t paint giving up custody as this amazing, empowered choice if you’re not gonna talk about how the system coerces that “choice” out of people in the first place. Don’t act like this was the best option for the child themselves.

Because I’ve seen what happens when those kids grow up. I’ve seen what happens when no one fights for them. And I’ve seen the difference it makes when someone does.

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kage-sama452 · 2 months ago

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That’s It.

I’m tired of seeing everyone repeat the same four points: “1) Nani gives Lilo to the state! 2) Hawaii has a better marine biology program than San Fransisco! 3) Jumba doesn’t get redeemed! 4) Pleakley’s not wearing a dress!”

Those are not the only things that were bad about this remake. You could easily tell it was going to be all that and more beforehand, but most people’s reaction to the trailer was “it’s surprisingly good!” and now they’re acting all surprised. If you didn’t see this coming, enough to purchase a ticket, you’re part of the problem and you don’t get the original movie any more than the people who made this remake did.

So I’m done being quiet, this is the Lilo & Stitch 2025 Takedown Post.

And as usual the only good thing about an attempted-remake is that it gives people a reason to think about what made the original so good.

Let’s go in order. But just scroll down to the Heading you Care About if you don’t want to read all this.

1. Cobra Bubbles

In this movie, Cobra Bubbles is a secret agent hunting for aliens and they have a new character take his place as the state social worker.

The Problem They Were Trying to Solve With this Change: “We shouldn’t have a black man or a government worker feel like an insensitive antagonist to Lilo’s family.”

That’s a stupid surface-level one-dimensional misread of the character from the original…and it wouldn’t have been hard, at all, for a child to explain to the 2025 filmmakers that Cobra is not an insensitive antagonist in the original.

Cobra Bubbles is not insensitive and he is not in any way portrayed as a bad guy in the original. Nani sees him that way, Nani sees him as antagonistic, because he’s the representation of Lilo being taken away.

But Nani is wrong about him and learns that she is wrong about him by the end of the movie.

Can we please make a list?

Cobra’s first interaction with the caretaker of the child he was being sent to protect was that she ran out into the road, yelled at a complete stranger, and dented his car.

Then he found her locked out of the home and threatening the child inside with a hammer in her hand.

Then he found out the stove was on while she was out, and she’d left a 7 year-old alone.

The 7 year-old made comments about being disciplined with bricks and a pillow case.

The 7 year-old looks like she might be more than a little emotionally unbalanced because she’s figuring out how to put voodoo spells on her friends to punish them.

He still gave that pair of sisters three days to straighten the ship. When in actuality, in 2002, under HRS §587-73, (don’t play with me) the social worker would’ve been well within his rights to remove the child from the home right then. But instead he gives her three days to fix it. THEN

The 18 year-old loses her job.

The family gets a “dog” who he is implied to know is an alien, right off the bat.

The alien is violent and wreaks havoc across town.

The 7 year-old almost drowns while they surf instead of find a job.

He lets the child and caretaker have one more night together to say goodbye, but when he’s on the way to get her he gets a call that she’s being attacked by aliens, hears a chainsaw, and finds the house on fire.

Do you understand what I’m saying.

Cobra Bubbles had NO BUSINESS being as BIG A SOFTIE AS HE WAS for all of the original movie. He was not only well within his legal rights to take Lilo away from Nani immediately, but he was actually required by law, it was his DUTY, to remove her immediately. But he didn’t do that. Why?

Now listen to me very carefully.

Lilo and Stitch is a movie about how “Family chooses to love and commit to one another selflessly, no matter what the other person can do for them or how hard they make it.” The fancy way they say it is just “Ohana means family: family means nobody gets left behind or forgotten.”

Did you catch that? “No matter how hard they make it.”

Cobra Bubbles was a CIA agent before this. A CIA agent who saved the planet, by doing what? Convincing an alien race to leave them alone. Oh, he didn’t fight them off? No. How? He “convinced” them? He talked it out? Sounds like a pretty compassionate guy, for all his tough exterior. How did he do that?

He could’ve picked any animal that’s actually endangered. The filmmakers chose to make him the guy who convinced aliens to value mosquitos.

MOSQUITOS. Creatures that give nothing, only take. Ugly little bloodsucking monsters. That’s the creature he convinced them to care about enough to save the planet.

NOW do you have any trouble understanding why this is the specific social worker who would give an alien-infested dumpster fire of a dangerous home a chance when two sisters are about to be torn apart?

Do you see that Cobra is just another example of the grace that the movie is always talking about? The love that transforms someone from bad to good simply because it refuses to give up even when it gets nothing out of it? I’m repeating myself because I want you to see why he was a well-done character who NEEDED NO CHANGE.

Cobra Bubbles’ character is not an insensitive monster who doesn’t care who his actions hurt as long as he gets the job done. But you know who that does sound like?

2. Gantu

Gantu is not in the remake at all.

The Problem They Were Trying to Solve With This Change: “It’s going to cost us upwards of 1.5 millions of dollars to design, sculpt, rig, animate, and render a character this big in addition to finding a suitable voice actor to play the part.”

This is a really dumb choice for several reasons. A. Without Gantu, there is no “stakes-raiser” to Lilo and Nani’s story. The movie has no climax without him. For the first and second acts of the movie, it’s about a grieving pair of girls trying to prove themselves to a social worker while the story-equivalent of Beethoven the Destructive St. Bernard wacky Jumba & Pleakley antics get in their way. But when a 40-foot tall alien stomps into their lives and abducts Lilo & Stitch in a spaceship that careens around the island during an explosive sky-chase scene, now you have a high-octane, somebody-could-die climax.

B. Without Gantu, Stitch looks weaker. The climax gave Stitch a reason to come out of the wackadoo puppy he’s been posing as and suddenly remind everybody that he’s a lethal weapon who can survive thousand-foot drops, lava, and astronomic explosions—and a giant alien’s Thanos-dwarfing fist. Take him out and who do we have as a match for Stitch to go up against, even for a moment, and prove how much he’s changed to be willing to risk his freedom and fight?

C. Without Gantu you have no villain to reflect that STITCH is no longer a villain. (So they substituted Jumba.)

But the reason this character is really worth millions is, again, the theme.

I told you Cobra Bubbles was a character who did not put “duty” or even “convenience” or “position” over the real lives of Lilo and Nani. He saw that there was love there, and in his own way, he gave it a chance. And even when he chose to take Lilo away, he did it carefully; he gave them time to say goodbye.

GANTU IS THE OPPOSITE OF COBRA BUBBLES.

Gantu is the insensitive, uncaring, unyielding Captain whose commitment to duty turns into rage and cruelty. Not Cobra.

Nani thinks Cobra is walking in a threatening to tear apart their family in a display of government judgement. But that’s what Gantu literally does.

His first reaction to Stitch is to call for his destruction. Without even waiting to see if “it can be reasoned with” like the Grand Councilwoman suggests. He’s merciless. He mocks Stitch when Stitch is captive. And he knows that he caught Lilo, a human, along with him. He doesn’t care. He even suggests that Stitch eat her as a snack.

There are only two other characters who laugh at others’ misfortune in the movie. One is Stitch, the original villain. Then love changes him. The other is Jumba, who made Stitch. Then love changes him. But Gantu never gets changed. He’s only concerned with his job, and with personally annihilating the flaws he sees in Stitch.

Gantu is unyielding, ungracious, and cruel. And he’s big and powerful enough to be a test for Stitch to prove he’s changed. For the benefits he brings to the story, he’s worth 1.5 million and more. But they cut him anyway.

3. Jumba

In the new movie, Jumba is a villain through-and-through with designs on overthrowing the Galactic Council using Stitch, and instead of being redeemed, he’s sentenced to prison.

The Problem They Were Trying to Solve With This Change: “We can’t spend money on our real villain so we’ll just keep Jumba evil.”

The reason this is dumb is obvious. They created their own problem, and the ‘fix’ makes the movie weaker, not stronger. But here’s how.

In the original, Jumba is introduced as trying to self-protect. He’s on trial, and he lies. But when Stitch is revealed, he’s genuinely passionate about the thing he’s created. And he cares about image. He prefers to be called “evil genius,” and he hates the headlines labelling him “idiot scientist.”

You have to remember he’s part of “Galaxy Defense Industries.” They had him making weapons of destruction anyway. He just got too into it with his genetic Experiments, went a little insane.

I’m not downplaying the fact that Jumba is evil at the start of the movie. He is. It is evil to be outcasted from society and then respond to that with, “well, if they’re going to treat me like an idiot, I’LL SHOW THEM, I won’t care about anything except my passion for mad science!” That’s evil.

But it also explains a lot.

I said it in another post. Jumba’s whole utility as a character is that he knows who and what Stitch really is, better than anyone. He made him to be a monster who can’t belong and wreaks havoc on everybody else’s ‘place of belonging.’ Jumba is the audience’s insider’s perspective on what is going on in Stitch’s head, at first.

But when he’s redeemed, it happens fast. And why? Because that’s how plain and simple Stitch is, as a character. Jumba knows Stitch is a disgusting little monster with nothing inherently loveable about him, and no “greater purpose.” So when his disgusting monster is loved by someone? When his disgusting monster is willing to ask him, Jumba, for help? Something totally outside his programming, totally not what Jumba thought he’d ever be capable of?

That proves to Jumba, in an instant, that there’s love out there that transforms. And creates a place of belonging.

There were already germs of that, a desire to belong, a compassion, in Jumba after he reached earth.

He doesn’t try to get Nani fired, he offers an explanation for Pleakley’s swollen head.

He claims he won’t hit Lilo (why would he care about collateral damage?)

He sounds sorry for Nani when she’s upset about losing Lilo, and tries to keep Stitch from bothering her.

My point is, Jumba’s redemption isn’t important because it’s cute or because we need to set up the big happy found-family trope everybody loves.

Jumba’s redemption is important because it is just one more PROOF that what’s happened to Stitch is so incredible. The love Jumba finds transforming his monster is enough to transform Jumba, too.

But sure, fine, whatever, make him a soulless one-dimensional talking head. Whatever.

4. Stitch’s Design

In this movie, Stitch is cuter than he is ugly, and he’s half Lilo’s size.

The Problem They Were Trying to Solve With This Change: “Ugly-cute doesn’t come across as well in ‘live action’ animation. And all the Wal-Mart moms remember Stitch as ‘cute.’ Plus we’ll save about 15% in rendering the animation.”

This is crippling to the characterization of Stitch.

Stitch is supposed to be an echo of who Lilo could become now that she’s lost her parents and may be losing Nani. This scene:

Where Jumba points out that Stitch has nothing, and destruction is his only purpose, is the evidence for that. But Chris Sanders, who made this whole story, also point-blank said it. Stitch is a future Lilo, if she loses her family.

So that’s reason number 1 that he should be her same height. But also, practically, no iconic pair of best friends, yin and yang, have visuals where one is smaller than the other. Especially not if one of them is supposed to be disguised as a pet.

The point is, Stitch is not LILO’s pet. He is her best friend, her other half. But between the muzzle-muscles they worked into his upper lip and the darkened dog nose and the butt-scooting across the floor, the remake is trying to make him more pet-like in relation to Lilo.

That’s not what he is.

I said this in another post. But Stitch is supposed to throw food to the back of his head like a gator—his lips are not designed for forming words. His gums and teeth are supposed to look like a shark’s. His nose is supposed to be too big, stamped into his face. His ears are supposed to be like bat ears, not bunny ears. He hunches forward, instead of bending at the waist like a toddler. His eyes can narrow to lizard slits.

He has to look like he can believably be a disgusting monster. Yes, he can also be cute. But he has to first look like a monster. Because that’s what he really is, in the story. If he isn’t, then LILO’s love for him doesn’t look as powerful.

It is easy to love a cat even if it scratches you, because it’s cute. It’s harder to love a life-sized spider that keeps knocking you down and eating your prized possessions and laughing when you get hurt. Stitch is supposed to be closer to the second one, so that Lilo’s love shines brighter.

But also, practically:

She can’t look him in the eye for emotional shots when he’s that short. He’ll always have to awkwardly be standing on a box or a chair or a bed.

How is he going to scoop her up, hero-style, and leap off of an exploding spaceship with her in his arms, when he’s half her size? He could do it: it’ll look stupid, though. So they just don’t have that part in the movie.

She can pick him up. That alone is demeaning and again, the visuals are silly. Not what we’re going for.

5. Lilo’s Personality

In this movie, Lilo doesn’t like weird stuff, and she screams when she first meets Stitch. There’s no problem that this solves. It’s just laziness and a lack of care about the characters.

I would like to remind you that the original Lilo:

Made her own doll that looks like a shrunken head and pretended a bug laid eggs in her ears.

Makes up stories about a fish that controls the weather and actively deep-sea dives to bring it peanut butter sandwiches.

Has a knee-jerk reaction of using practical voodoo spells on friends who wrong her.

Listens exclusively to Elvis Presley.

Fills baby bottles with coffee.

Believes Nani’s manager is a vampire.

Has fishing nets and seashells in her room for decoration.

takes safari pictures of overweight bleached tourists.

meets a social worker and her first impulse is to ask if he’s killed someone.

Nails the door shut when she’s mad at her big sister.

She’s not friends with pound dogs in that original movie; when they first get there she acts like she’s never been in the kennel before, and originally wants a pet lobster.

I know that we all love that little girl they got to play Lilo, but if you were really being objective, you’d acknowledge that she’s a little girl. She’s not Lilo. She’s a cute little girl.

They did not write Lilo into the 2025 movie. They wrote any old little girl.

You should have known, from the moment she first sees Stitch and her reaction is to scream in the trailer, that THAT IS NOT LILO.

Lilo had a very specific set of characterizations. She was a character with a personality that exploded out of the screen. Every other character in the movie meets Stitch and reacts with disgust.

But not. LILO. She’s the only one to react to him like THIS:

She is literally not like anyone else. She’s doesn’t care that he’s ugly. Or weird. Or blue. Or even bat an eye when he can talk with all those shark teeth.

From Moment One, Lilo chooses Stitch. She chooses to love him. Regardless of what he can do for her. Regardless of how many times he pushes her over or rips up her house or makes her relationship with Nani harder. That is the number one thing about Lilo.

She is desperate for people to stay, but she chooses to love Stitch even though he’s a monster. And she tries to make him better. And her love succeeds in transforming him when nothing else could.

Lilo’s personality traits all mean something in the story. (I.e. she likes Elvis because she’s clinging to the past, she snaps pictures of tourists like they’re safari animals because they’re inherently people who LEAVE and she has issues with LEAVING, etc.) But the thing I think that was so obvious that the moviemakers missed for 2025 is she has to be weird. If she’s not weird, there’s no reason for her not to have friends. And if she has friends, what does she need Stitch for?

But also, Lilo’s personality in the new movie is just boring. Cute. But boring. Cute’s not that great of an accomplishment; any 7 year-old is cute.

6. Nani

I don’t think you guys need to know this. It’s not just that Nani leaves. It’s that “take care of yourself” is the exact opposite of the selfless message of the movie.

In the beginning, Lilo literally argues with Nani after being told she’s “such a pain,” and goes, “why don’t you SELL ME and buy a RABBIT INSTEAD?”

And then breaks down and cries at the thought of Nani wishing she had a rabbit instead of Lilo, later.

Because Lilo is afraid of people leaving. But Nani won’t leave her. Nani loses her job, her own life, because of Lilo. But she’s desperate to keep Lilo anyway, because she loves her. Don’t you understand? The message of the movie was about self-sacrificial love. A love that doesn't care what I get out of the relationship.

Nani starts it. But you know what, David loves her like that, too. And then Lilo transfers it to Stitch, who shows it off to Jumba. It’s a chain reaction, but Nani is spearheading it.

You realize that when their parents died, Nani already would’ve been in high school? With a whole life of her own? Her own friends, her own potential boyfriend, a job she went to, surf competitions (the trophies are in her room.) Lilo would’ve been well aware that that was the status-quo: Nani has her own life. And even a seven year-old can see that that life is being put on hold, but maybe the big sister wants to go back to it, at every turn.

The fact that Nani never does that, never expresses a desire for that, only ever expresses a desire to keep Lilo with her, is huge. It’s the core of the movie.

I don’t think that needs any more explaining.

We could talk more. Like about how Lilo needs to see that Stitch is an alien, because that’s the ultimate test: he’s one of the monsters who destroyed her house, he’s been lying to her and using her as a human shield, he’s a criminal—but she still winds up giving everything up to protect him.

Anyway. My neck hurts and I don’t want to type anymore. But we could talk about the music, the social worker, the grand councilwoman—it just doesn’t matter.

Ya’ll had more than enough details in the trailer to be able to not go see this movie because it was obviously going to ruin everything. But instead you chose to make this twisted corpse “the highest-grossing movie of any Memorial Day.” You bought tickets because they ruined a perfect movie and slapped together an uglier package for you.

Whatever. It was my favorite movie today, it’ll be your Treasure Planet or Tangled tomorrow. Keep riiiight on giving them your money, and keep letting influencers regurgitate the same four obvious facts to you over and over, because they paid Disney to make a talking-point for their content benefit. Whatever.

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