Picture this: You’re in a pressed group, applauding along as an intergalactic pop star with signature iced tips amazes the crowd. You and your individual show goers are decked out in metallic coats and brilliantly shaded holographic skirts, shouting garbled slang like “zetus lapetus.” Shockingly, this isn’t a scene from a gay bar on a Saturday night – it’s the end minutes of Disney Channel’s Zenon: Girl of the 21st Century.

In the same way as other strange individuals, I hold an extraordinary spot in my heart for Zenon and many other Disney Channel Original Movies. Of course, some portion of it is the sentimentality factor: these movies transport twenty to thirty year olds of a particular age back to the simpler days of our childhoods. Be that as it may, I think there’s another explanation DCOMs reverberate especially inside the eccentric network: Because they acquainted us with a feeling of strangeness and unconventionality that felt warm and inviting — regardless of whether we were out of the wardrobe at that point or not.

While the better referred to Walt Disney Classics have filled in as basic mainstream society for ages of youngsters, their customary story curves fortified straight, heteronormative qualities: The princess or legend leaves on an excursion of self-completion, gets the person or young lady, and in the long run crushes a malevolent scalawag. Indeed, even in affliction, the way to joy and achievement is a straight line for the friendly great Disney saint. In the interim, those insidious reprobates, a significant number of whom were the genuine pariahs of the account, were regularly strange coded (see: Scar, Ursula, the rundown goes on), idly strengthening that being diverse wasn’t something to be commended. Disney didn’t include a straightforwardly gay character in a film until LeFou in the 2017 real to life Beauty and the Beast, with questionable outcomes.

DCOMs probably won’t have expressly depicted strange characters and storylines, however they demonstrated that you can flourish regardless of whether you’re not quite the same as the absurd meaning of typical. While Disney works of art highlighted characters that barely dealt with their own feeling of personality, Disney Channel Original Movies to a great extent told stories of untouchables and loners, heroes grasping their actual selves in the midst of frequently exceptionally bizarre conditions. There’s actually DCOMs about how nonexistent companions become Boogeymen (Don’t Look Under the Bed), a leprechaun kid who simply needs to play ball (Luck of the Irish), and a youngster who winds up utilizing his clone to show signs of improvement reviews (The Other Me). I’d be delinquent in the event that I didn’t highlight The Thirteenth Year, wherein a kid discovers that he’s really a cracking mermaid. As he hits pubescence, he begins growing shimmering scales a la The Rainbow Fish. Gay!


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