One Extinguished Spark: Why It Is Time to Retire Figment

Ever since the golden era of EPCOT Center, a lovable fellow with two tiny wings and eyes big and yellow with horns of a steer has established himself as an iconic Disney theme park character that has acquired a mass of diehard devotees across multiple generations. This fantastical creature, adorned head to toe with royal purple pigment, has been a Walt Disney World staple since the early 1980s, and nowadays, you can find this fabrication of one's mind acting as the unofficial mascot of Epcot, as evidenced by his excessive presence on festival merchandise and more. Furthermore, in a day and age in which all aspects of retro Epcot have been slowly but surely fazed out, he has survived not one, not two, but three separate versions of the Journey Into Imagination attraction located in Future World West. Against all odds, the venerated Figment has endured and has thus passed the test of time. Long after the demise of other attractions from Epcot's heyday, Figment and his attraction are still standing.

But why? Why is Figment allowed to survive while the entire park around it significantly evolves?

Now, please do not misunderstand where I am coming from with this question. As I stated in my post from last week, I consider myself to be somewhat of an Epcot purist, so Figment holds a special place in my heart to a degree. Alongside the Dreamfinder and the original incarnation of Journey Into Imagination, Figment epitomized the specialness of EPCOT Center. The entire Imagination pavilion was a work of Imagineering art from the physical structure to the whimsical magic on display aboard the ride itself, and Figment was the key to its entire success. It is impossible to think about old school Epcot without also thinking about Figment, for our beloved purple dragon contributed substantially to the legacy of vintage EPCOT Center.

That was then, though, and this is now. 

Photo courtesy of the Disney Parks Blog

In the late 1990s, Disney decided to reimagine the Imagination attraction, changing it from Journey Into Imagination to Journey Into Your Imagination. The Dreamfinder was replaced with Eric Idle's Dr. Nigel Channing, and Figment himself experienced a drastic character change. Figment was a costar in the original version of the attraction, an inspiring and genial spirit that entertained guests of all ages, but in this updated version, his role was reduced to small cameos as he was relegated to being a mere minor supporting character. With these unwelcomed changes, Imagineers had ripped out the soul of the ride and the pavilion itself, and fans responded accordingly, rightfully opting to express their disappointment in this new yet far-from-improved version of the attraction. As a result, Journey Into Your Imagination lasted only two years, and with its closing, it was time to go back to the drawing board.

In 2002, Journey Into Imagination with Figment debuted with Figment in an expanded role and the Sherman Brothers' earworm "One Little Spark" reinserted to hopefully satisfy the angry mob of fans. With these alleged improvements, Imagineers hoped to recapture the magic of the original attraction, but upon this new version's debut, it was clear that the original spark had dissipated entirely. Figment, a constant source of entertainment from 1983 through 1998, had become a nuisance, essentially acting like an annoying mosquito on a humid Florida night. He was no longer a joy but was rather bothersome, an aggravating presence in an attraction that had become a shell of its former glorious self. Figment's role had certainly increased, but at what cost? In the span of half a decade, Figment had gone from adored to abhorred. 

Now, over the past several years as this version of the attraction continues to operate, fans have convinced themselves that Figment is above criticism as well-intentioned people seek to hold on tight to the last remaining remnants of EPCOT Center from the past. Fueled by nostalgia and by memories from yesteryear, Figment has developed and sustained an unrivaled cult following amongst Epcot purists and casual vacationers alike. However, the truth of the matter is this: Figment has been an irritant longer than he has been an inspiration. The original version of Journey Into Imagination, and therefore the original version of Figment, survived for fifteen years, but we are currently in year twenty-one of Figment's troublesome reign of disturbance if you combine the years of operation for Journey Into Your Imagination with the years of operation for Journey Into Imagination with Figment to this point. It has been over two decades since Figment was anything but an exasperation, and it is time for us to officially let him go.

Epcot fans from all walks of life need to come to grips with the reality that prime Figment is gone and has been for a while, and we need to accept the fact that the characterization of modern-day Figment is a stain on the legacy of the Imagination pavilion. The way Disney has treated Figment since the late nineties is nothing short of disgraceful and quite disrespectful to the original Imagineers who created a character for the ages. What once was a wonderful character has now become nothing more than a marketing ploy, with the attraction serving as merely a grand commercial for Figment merchandise. We need to stop trying to convince ourselves that the latest incarnations of Figment and Journey Into Imagination with Figment are exceptional. Undoubtedly, Figment and his attraction were remarkable once upon a time, but those days are long gone. Today, they are both black eyes on the once-proud theme park, a dismal footnote in the grand story of EPCOT Center, and for the good of Imagination's legacy, I believe it is time for Disney to retire Figment and have his characterization faults be consigned to oblivion.

The attraction presently operating in Epcot needs to be completely redone and infused with new life. I advocate for the creation of something entirely new, perhaps an attraction based on a well-known intellectual property such as Pixar's Inside Out. At the end of the day, I would do something- anything- to help restore some honor to the Imagination pavilion. It has been a rotting corpse for far too long and now is the time to breathe some life back into it by any means necessary. Barring intervention by Disney Legend Tony Baxter, I think the best course of action to accomplish this is to let Figment retire with what little dignity he has left. It pains me to even think about an Epcot without a Figment-led Imagination pavilion, but the right decisions are oftentimes the hardest ones to make.

The original Journey Into Imagination is one of the best attractions ever created by Walt Disney Imagineering, and Figment is one of the greatest character creations in Disney theme park history without question. It is for the sake of these legacies that I believe now is the time for fans and for Disney to say farewell to Figment and his attraction for good. Right now, it may be possible that more people know Figment from merchandise items that from his own attraction (those wait times are never long, you know), and do we really want him to go down in history that way? Time can heal all wounds, and with retirement and closure, we will soon forget about the last twenty-one years and begin to rewire our brains to primarily remembering peak Figment instead of rock-bottom Figment. 

Photo courtesy of the Disney Parks Blog

I know it may sound counter-intuitive to suggest that, for Figment to be remembered well, his attraction needs to close, but I think the attraction closing would do more for Figment's legacy than would continuing to operate such a lackluster attraction. Think back to when Maelstrom closed a few years ago to make way for Frozen Ever After in the Norway pavilion in Epcot's World Showcase. Fans were livid and began to memorialize Maelstrom as if the Haunted Mansion was shutting down simply because Anna and Elsa were moving in. Maelstrom, in reality a pretty average attraction, is now considered a beloved and classic attraction chiefly because it closed. I think the same could happen if Disney decided to retire Figment and close his attraction. With such a move, fans would swiftly forget about the disappointing last couple of decades and only remember Figment and his attraction fondly. If Maelstrom can get a legacy bump upon closing, think about the legacy bump the Imagination pavilion would get.

In Star Wars- Episode VIII: The Last Jedi, Kylo Ren wrestles with how to deal with his tortured past, and he concludes (and thus gives us the theme of the entire movie) by stating, "Let the past die. Kill it, if you have to." With Figment and Journey Into Imagination, that is exactly what needs to be done. The spark of one of Epcot's most treasured pavilions has been all but extinguished, and we are now left with the choice of what to do with a flame that is no longer burning with pride. In my humble opinion, fans need to let the past die, and Disney needs to kill the Imagination we have grown accustomed to for this to happen. While I know this opinion will not be shared by everyone, I believe the only way for Figment and Journey Into Imagination to be redeemed is to go the path of other classic Epcot attractions such as World of Motion, Horizons, and Universe of Energy. We look back at those attractions with rose-colored glasses, freely looking past their flaws and focusing only on their greatness, and I so want us to do that with Imagination in the years to come. I want Figment to be remembered as a legend, not a punchline. I want that one little spark to burn again in the minds of every Imagination fan. This may sound like a drastic proposal, but desperate times call for desperate measures, don't they?

One bright idea, one right connection, can give our lives a new direction. Now is the time to give Figment's life and legacy a new direction.

Dreaming and Doing: Why Horizons Is Imagineering's Greatest Achievement

In the late 1990s, an iconic attraction located in EPCOT Center's Future World East was left in a state of closing limbo. Beginning with the loss of General Electric's sponsorship in 1993, Disney had decided to essentially put a timer on the life span of one of its best attractions to date. Everyone agreed that this attraction was spectacular, so why had Disney seemingly numbered its days? After a while, the timer went off, and the attraction was scheduled to close for good on January 9, 1999, before being demolished right before the eyes of legions of fans who adored this one-of-a-kind attraction. Ever since that day, these same fans have elevated this attraction to a heavenly realm of admiration, for it truly was a special attraction that has become the poster child for the Imagineering days of yesteryear.

Today, despite a rather unceremonious closing, Horizons endures as the pure embodiment of what classic EPCOT Center stood for, a bonafide combination of all aspects of the park's subsequent pavilions to create one epic attraction designed to gives guests an optimistic look at the future like only Disney could offer. It carried out gracefully the overall goal of EPCOT Center in the way it purely entertained, educated, and inspired guests from all walks of life and from all age groups. Fans who fondly recall memories of this attraction and even fans such as myself who do not remember personally experiencing this attraction can agree that there has never been anything quite like Horizons in the history of Walt Disney Imagineering.

Photo courtesy of the Disney Parks Blog

Horizons wanted to give guests a vision for the future, a vision that seemed attainable and a vision that seemed hopeful. Its oft-quoted thesis statement plainly explained what kind of vision for the future Horizons wanted to present: "If we can dream it, we can do it." It was a simple declaration, but to this day, such a mantra reminds all of us that we have the ability to make a better future for ourselves today. In a world that so often looks at the future in a bleak manner, Horizons emphasized that, if we work together and dream big, we have a reason to look forward to tomorrow. Horizons unapologetically saw a future that was to be embraced, not dreaded, for today holds the challenge to make this world a better place to be. It implored guests to welcome these challenges with open arms because Horizons understood that everyone had the capacity to impact the future in a positive way as long as they dreamed boldly and acted determinedly.

To say Horizons was ahead of its time would be quite the understatement. For an attraction that debuted in 1983, its prediction of the future was, more or less, stunningly accurate. From robots doing mundane chores to the idea of communicating face-to-face with one another via technology, Horizons seemed to have its finger on the pulse of the future. Sure, some of its predictions remain audacious and lofty, but that was part of its appeal and its charm. Horizons dared us to dream big, to dream dreams that redefined the status quo and pushed society into a great, big, beautiful tomorrow. It balanced a presentation of a feasible future with a grandiose one, altogether showcasing a future that seemed to have already arrived and a future that is still yet to be grasped. Horizons both inspired optimism for the present while also inspiring optimism for the future. Yes, the future was here now, but Horizons asserted that we must continue to press on into the future, to keep longing to reach for tomorrow's new horizons.

Photo courtesy of the Disney Parks Blog

This optimistic view of the future is the main reason Horizons continues to resonate with so many fans across multiple generations, but additionally, the scope of the attraction itself also plays a factor in how zealously fans remember this great Imagineering achievement. The message of Horizons is obviously commendable, but if the ride had been boring or ordinary, the message would not have connected to fans in such a profound and lasting way. Luckily, Imagineering went above and beyond in making its greatest attraction to date from a story standpoint as well as a technical one. Situated in a park filled to the brim with distinctive attractions, Horizons nevertheless managed to stand out. It was a nearly fifteen-minute dark ride featuring infectious music, clever narration, Disney signatures, and a timeless message. Two massive and ground-breaking OMNIMAX screens played a key role in the attraction's story, while every scene was breathtaking in detail and awe-inspiring in breadth. Plus, the customizable ending with the option to take three different paths back to the FuturePort from either Brava Centauri, Mesa Verde, or Sea Castle was revolutionary, an unrivaled ending that was incredibly ahead of its time (do you sense that theme developing here?). In a culture that falls in love with saying something is unlike anything else they have ever seen, Horizons is still legitimately unlike anything else we have ever seen from Disney in the past or in the present.

While Disney continues to produce outstanding attractions today, Imagineering will probably never produce another attraction as ambitious and exceptional as Horizons. Modern attractions tend to be devoid of the originality so prominently on display in Horizons, instead relying heavily on Disney's wide library of intellectual properties to immerse guests in stories they are already familiar with prior to entering the park (a strategy I do not fault, by the way, considering how beloved Disney's IPs are nowadays). Furthermore, for the most part, the length of attractions today come nowhere close to the roughly fifteen-minute runtime of Horizons, and the modern attractions certainly fall short of reaching the structural heights of Horizons in terms of set design and audio-animatronic usage (the Shaman at the end of Animal Kingdom's Na'vi River Journey, for example, is an undeniably superb audio-animatronic, but old school Epcot laughs at the idea of only inserting one audio-animatronic into an attraction). From a creative standpoint, Horizons will always be in a class by itself.

Photo courtesy of the Disney Parks Blog

While I greatly admire EPCOT Center from the 1980s and early 1990s, I fully acknowledge that the park needed to evolve over time. I may consider myself to be somewhat of an Epcot purist, but I do not aimlessly wish for the park to return to its former glory. I understand that Horizons will never return and the park is now proceeding into the future with a different goal in mind, but I believe that is exactly why I love Horizons as much as I do. It represents the best of Imagineering from a bygone era. Whenever one looks back at the retro aspects of the Disney theme parks, it is impossible to not fall head over heels in love with Horizons. Even though I have only experienced ride-throughs of this attraction by watching YouTube videos such as this excellent one from the Lake Buena Vista Historical Society, it is evident to me that Horizons was an unparalleled Disney attraction that has no equal at any point in Imagineering's history. Its appeal for all of mankind to start dreaming and start doing is an immortal plea that will forevermore provoke us to progressive action.

When I consider the EPCOT Center of a generation ago, I am struck by how earnest its desire was to build a better tomorrow, and Horizons was the perfect capstone attraction that brought together all of that earnestness into one era-defining experience. There's a reason Epcot fans such as myself look back at Horizons with such amazement and reverence: Disney produced a singular experience that was truly and wholly unique. There was nothing like it before its debut and there has been nothing like it since its closure. Horizons was something extraordinary, a rare attraction that simultaneously encouraged and challenged us in the best ways imaginable. Undoubtedly, we could use its powerful message and eager viewpoint of the future in today's day and age. Horizons believed in humanity, and Horizons believed in individual men and women and their capabilities to make a brighter future for everyone. Horizons genuinely affirmed that if we can dream it, we really can do it.

That is precisely why Horizons is Imagineering's greatest achievement to date.

The Post-Renaissance Era: Part 2 - 2002-2008

The Post-Renaissance Era: Part 2 - 2002-2008

The time has now come to head on into the second phase of the Post-Renaissance Era.

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Treasure Planet

Based on the novel Treasure Island by Robert Louis Stevenson, Treasure Planet was the first Disney film to be released simultaneously in regular theaters as well in IMAX format.  Ron Clements and John Musker originally pitched the idea for Treasure Planet at the same time they pitched the idea for The Little Mermaid.  James Newton Howard composed the score and John Rzeznik wrote the songs.  The voices of Joseph Gordon-Levitt, Martin Short, and Emma Thompson are featured in the film.

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Treasure Planet follows cabin boy  Jim Hawkins and his obsession of the legendary Captain Nathaniel Flint.  Jim goes on an intergalactic treasure hunt after stumbling upon a map to Flint's secret treasure trove.  Along the way, Jim befriends several alien-like creatures that help him on his journey.

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Despite it's critical praise, Treasure Planet was a box office flop.  Granted, it did release the same weekend as Harry Potter and the Chamber of Secrets and The Santa Clause 2.  Despite all of that, it still holds a 70% score on Rotten Tomatoes.  Treasure Planet was released in November of 2002 with a run time of 95 minutes.

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Brother Bear

Brother Bear was the final film to be primarily produced at Disney MGM-Studios in Florida.  After the success of the Tarzan soundtrack, Disney decided to bring back Phil Collins to compose the songs for the film.   The film premiered at the New Amsterdam Theatre where Collins performed "No Way Out" and Tina Turner sang "Great Spirits."

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The film tells the story of Kenai, whose brother has recently been killed by a bear.  Kenai tracks down the bear and kills it, which angers the Spirits that watch over the Earth.  As a punishment, the Spirits change Kenai into a bear.  Before he can be a human again, he has to learn how to see through another's eyes and understand the meaning of brotherhood.

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Similar to more obscure Disney films before it, Brother Bear was praised by critics for its animation but criticized for it's story line.  Brother Bear, just like Treasure Planet, also had several other top films released at the box office to compete with in November of 2003.  A direct-to-video sequel was released in 2006 called Brother Bear 2.

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Home on the Range

Home on the Range is the 45th film from the Disney studios and the last 2D film they produced.  It features the voices of Rosanne Barr, Judi Dench, and Cuba Gooding Jr.  The music was composed by Alan Menken and featured vocals by Bonnie Raitt and k. d. lang.

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Set in the Old West, Home on the Range focuses on a trio of mismatched dairy cows.  Maggie is super adventurous and brash to everyone she meets.  Mrs. Caloway is the prim and proper one of the group and the ditzy one is Grace.  To save their farm from foreclosure, the cows work together with the other animals to capture the cattle rustler.

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Once again, the plot of Home on the Range was highly criticized by critics.  Other critics claimed comedy was off and wasn't appropriate for a children's movie.  Home on the Range  was  released in April 2004 with a run time of 76 minutes.

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Chicken Little

Based on a story by Mark Dindal and Mark Kennedy, Chicken Little was the first film to be released in Disney Digital 3-D.  It was the Studios first fully computer animated film, as they only distributed Pixar's films at the time.

Walt Disney Studios

Chicken Little follows its titular character as he sends his little town into panic by claiming, repeatedly, that the sky is falling.  He's unable to find the piece of sky that hit him so they town people exile him.  Trying to redeem himself, Chicken Little tries to redeem himself by playing in and winning a crucial game for the town's baseball team.  However once another piece of the mysterious sky falls on him again, Chicken Little must convince the town he isn't crazy and an attack from a UFO is imminent.

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When it premiered in November of 2005, Chicken Little became the first Disney animated film to debut at number one at the box office since Dinosaur.  Yet again, critics love the animation while being indifferent about the story line.  Chicken Little features music by John Debney and has a run time of 81 minutes.

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Meet the Robinsons

Loosely based on the children's book by William Joyce titled A Day with Wilbur Robinson, Meet the Robinsons was the first film released after John Lasseter became the chief creative officer of the Studios.  The film features the 1953 short Working for Peanuts before it premiered in theaters.  Meet the Robinsons features music by Danny Elfman.

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Meet the Robinson is about boy genius Lewis who's plans for his recent invention has been stolen by Bowler Hat Guy.  It's then a young time traveler named Wilbur Robinson appears and takes Lewis away in his time machine.  Lewis spends the day with Wilbur and his family in the future where he loves a fun secret about the Robinson family.

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Starting to break the mold of the films before it, Meet the Robinsons was praised for it's animation as well as its deeper depth to its story.  Meet the Robinsons was released in March of 2007 with a run time of 94 minutes.

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Bolt

Bolt is considered by many in the film industry as well as fans to be the film that helped launch the Disney Revival Era.  The film helped the Studios move into a new direction of film making which featured both amazing animation and classic Disney storytelling.  Bolt was nominated for the Academy Award for Best Animated Feature, a Golden Globe Award for Best Animated Feature Film, and a Golden Globe Award for Best Original Song.

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Bolt centers on the title character who's a famous dog on a television series.  Having spent all his life on the set, he thinks he actually possesses super powers.  When Bolt thinks its human, Penny, has been kidnapped, he jumps into gear and set upon a journey to rescue her.

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Bolt features the voices of John Travolta, Miley Cyrus, and Malcolm McDowell.  It was released in November 2008 to mostly positive reviews.  The film featured music by John Powell and has a run time of 96 minutes.

Now that we've covered all the films in the Post-Renaissane Era of Disney Animation, it's time for you to tell us which one is your favorite!  Tweet us your favorite film to  @TMKBpodcast!

Robyn Fleenor is a contributing writer for The Mouse Knows Best Podcast. She is an avid Disney
fanatic and would rather be at Walt Disney World eating glazed almonds than anything else.  When
she isn't working to pay for her next Disney vacation, she likes to binge watch TV shows and fall in
love with fictional characters. She can be found tweeting at @rahrah6263.

The Post-Renaissance Era: Part 1 - 2000-2002

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The Post-Renaissance Era: 2000-2009

Similar to the films in the Wartime Era, the films in the Post-Renaissance Era didn't see as much success at the box office as previous Eras, with the exception of Lilo and Stitch.  The Post-Renaissance Era doesn't care a common theme like some of the eras before it making it a transitional period for the Studios.  They were trying to create new ways of storytelling that were similar to Pixar's while also integrating CGI technology into their films.  In fact, Dinosaur was the first CGI film produced by Disney.

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Fantasia 2000

A sequel to the original Fantasia, Fantasia 2000 was released in IMAX on January 1, 2000 and consisted of eight animated segments set to classical music.  The idea for a Fantasia sequel had been unsuccessful before but after the commercial success of the home video release of the original film, Michael Eisner saw the potential and assigned Roy E. Disney as the executive producer.

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The first segment was Symphony No. 5 by Ludwig van Beethoven in which butterfly-like creatures are chased by black bats, symbolizing the light in the world being chased by darkness.  Ultimately though, light wins.  The segment is introduced by Deems Taylor via archival recordings.

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The second segment was Pines of Rome by Ottorino Respighi.  It told the story of a humpback whale family who are able to fly and introduced by Steve Martin and Itzhak Perlman.

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Rhapsody in Blue  by George Gershwin was the third segment.  It was set in 1930s New York in the style of caricaturists Al Hirschfels and told the story of four individuals: Duke, Joe, John, and Rachel as they wish for a better life...and get them.  The segment is introduced by Quincy Jones along with pianist Ralph Grierson.

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The fourth segment was Piano Concerto No. 2, Allergro, Opus 102 by Dmitri Shostakovich.  It was based off the story "The Steadfast Tin Soldier" by Hans Christian Anderson about a broken toy soldier who falls in love with a ballerina.  This segment is introduced by Bette Midler along with pianist Yefim Bronfman.

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The Carnival of the Animals, Finale by Camille Saint-Saëns told the tale of a flock of flamingos who try to teach their yo-yo loving flock member how to practice the regular routines of being a flamingo. The fifth segment is introduced by James Earl Jones along with animator Eric Goldberg.

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The only segment to be featured in both the original Fantasia and the sequel was The Sorcerer's Apprentice.  Based on a poem by Goethe, the segment tells the story of Mickey Mouse who attempts to perform the same magic as his master Yen Sid.  The sixth segment is introduced by Penn & Teller.

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The seventh segment is Pomp and Circumstance - Marches 1, 2, 3, and 4 by Edward Elgar.  Based on the biblical story of Noah's Ark, Donald Duck is Noah's assistant and is in charge of getting the animals on the ark.  The segment is introduced by James Levine along with Mickey Mouse and Donald Duck.

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The eighth and final segment was Firebird Suite - 1919 Version by Igor Stravinsky in which a Firebird is awoken and destroyed the forest but the Sprite restores the forest.  The segment was introduced by Angela Lansbury.

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Fantasia 2000 was a critical hit and was nominated for a Grammy Award in 2001.  The film was the first animated feature length film to be shown in IMAX and had a runtime of 75 minutes.

Walt Disney Studios

Dinosaur

Dinosaur was produced by Walt Disney Feature Animation along with The Secret Lab.  Although the characters are all CGI, much of the background of the film is live action.  Scenes were shot in Venezuela at various location including Canaima National Park and Angel Falls.  The film cost $127.5 million to make but grossed $349 million worldwide at the box office, making it a success in 2000.

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Dinosaur tells the tale of Aladar, an iguanodon, who is raised by lemurs after being abandoned by his mother during a canaturus attack when he was still an egg.  Plio the lemur raised Aladar.  One day, a meteor strikes the lemur's home island and they - Aladar, Plio, and three other lemur, Zini, Yar, and Suri - are forced to flee to the mainland.

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They head out through the wastelands of the mainlands where they come across a multi-species herd of dinosaurs lead by Kron on a journey to the Nesting Grounds, a place that is said to be untouched by the meteor.  After some convincing, Kron allows Aladar and the lemurs to follow his herd to the Nesting Grounds.

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What the herd doesn't know though is that two carnotaurus have picked up the herd's scent and are on the trail.  When Kron realizes this, he begins to push ahead faster, leaving Aladar and the older dinosaurs behind.  The misfit herd seeks shelter in a cave but the carnotaurus still find them.  Bruton, an elderly dino, sacrifices himself for the heard by causing a cave-in that crushes one of the carnotaurus.

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Aladar leads the rest of the group deeper into the cave but when they arrive at a dead end, he becomes discouraged.  Since team work makes the dream work, the misfit herd work together to push through the dead end cave wall to revel the Nesting Grounds on the other side.  Realizing a rock wall is blocking the original path into the valley, Aladar runs to Kron and his herd to warn them but Kron attacks Aladar instead.  Kron's sister, Neera, steps in and stops him from killing Aladar.  In the aftermath, the rest of the herd denounces Kron as their leader and decided to follow Aladar.

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Dinosuar was directed by Ralph Zondag and Eric Leighton and featured music by James Newton Howard.  It was released in May of 2000 and has a runtine of 82 minutes.

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The Emperor's New Groove

Boom, baby!  The 40th animated Disney feature film was The Emperor's New Groove.  The buddy comedy movie features voices from David Spade, John Goodman, Patrick Warburton, Eartha Kitt, and Wendie Malick.  It was originally conceived as a heavier musical in 1994 but with the addition to Mark Dindal to the team, The Emperor's New Groove gained it's trademark lighthearted comedy feel.

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The Emperor's New Groove tells the story of Kuzco, an egotistical emperor of the Inca Kingdom who punished anyone who dares to throw off his groove.  One day, Kuzco fires his adviser Yzma.  Yzma, along with the dimwitted Kronk, devise a plan to kill Kuzco and take over the throne.  Meanwhile, Pacha, a family man from the village, comes to the emperor's castle to find out that his home along with his village is going to be demolish to make room for Kuzco's summer house, Kuzcotopia.

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Later at dinner, Yzma puts her plan into action to kill Kuzco by poisoning his drink.  Only problem is...they gave him the potion to turn him into a llama instead.  Knocking him unconscious, Yzma stuffs him in a sack and tells Kronk to get rid of him.  Krock, however, can't go through with killing Kuzco and places him - mistakenly - on a cart belonging to Pacha.

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Back at Pacha's home, Kuzco awakes and blames Pacha for his current llama state.  Kuzco demands Pacha take him back to the capital but Pacha says he'll only do it if Kuzco doesn't put his summer house in his village.  Kuzco tells Pacha he agrees to the terms, although he has plans to go back on his word once he's safe in the capital.  The two set out on the journey back to the capital around the same that Yzma - who has taken the throne - finds out that Kronk didn't kill Kuzco.

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Enter some crazy jungle shenanigans as Yzma and Kronk try to track down Kuzco and Pacha and you in for one great underrated comedy.  Eventully, Kuzco and Pacha arrive at Yzma's lab and find the antidote.  However, Yzma and Kronk arrive shortly after and they all fight to get the antidote.  When they're down to two vials left to try to get the antidote, Yzma falls on one of them and it turns her into a kitten.  Kuzco drinks the other one, the correct antidote, and is turned human again.  Through his journey of transformation, Kuzco decides to build his summer house on an unoccupied hill next to Pacha's village.

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The Emperor's New Groove wasn't a box office success but it was however a home movie release success.  The song "My Funny Friend and Me" was nominated for both a Grammy Award and an Academy Award.  The film was released in December of 2000 and has a runtime of 77 minutes.

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Atlantis: The Lost Empire

The first science fiction movie the Walt Disney Studios made was Atlantis: The Lost Empire.  Inspired by the works of Jules Verne, the production team decided to make an action-adventure movie instead of a musical.  When it was released, Atlantis: The Lost Empire had used more CGI than any previous Disney films.  It was also one of the few to be shot in anamorphic format.

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Atlantis: The Lost Empire tells the story of Milo Thatch, a cartographer and linguist at the Smithsonian Institution who focuses his work on the lost city of Atlantis.  According to legend, the city of Atlantis sunk to the bottom of the sea after a tsunami overtakes it.  The Queen of Atlantis is trapped in a powerful crystal called the Heart of Atlantis along with the city's innermost district.  Her daughter, Kida, however is left behind.  Milo is positive he has found The Shepherd's Journal which is said to contain the directions to the lost empire.

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Helga Sinclair, a mysterious woman, approaches Milo and introduced him to millionaire Preston B. Whitmore.  Whitmore owes a debt to Milo's grandfather and recruits Milo to lead him on the expedition to Atlantis.  The expedition is led by Commander Lyle Rourke as the crew departs on a submarine called the Ulysses.  During the journey, the submarine is attacked and Mile, Rourke, and some of the crew escape the sea monster that guards the city of Atlantis by going into a cavern.

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Arriving at the edge of Atlantis, Milo meets Kida who enlists him to decipher the Atlantean language which the natives have all forgotten.  After deep diving into the city's submerged ruins, Milo finds out exactly what the Heart of Atlantis is: it's the power source for the Atlanteans that is powered by the crystals worn on their necks.  Rourke knows the crystal is valuable and is determined to betray Milo to get the crystal to sell.  After an ensuing battle, Milo kills Rourke and the crystal is returned to Atlantis.  While the rest of the crew returns to the surface, Milo stays in Atlantis with Kida.

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The Atlanteans language in Atlantis: The Lost Empire was created by Marc Okrand, who also developed the Klingon language for the Star Trek franchise.  Atlantis: The Lost Empire struggled at the box office as it was in theaters the same time as the hit film Shrek and Lara Croft: Tomb Raider.  The film was produced by Don Hahn and had a runtime of 96 minutes.

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Lilo and Stitch

Lilo and Stitch was another sci-fi movie from the Disney studios although it was far more successful that Atlantis: The Lost Empire.  The film was one of the three that was produced mostly at Disney's MGM Studios.  It's said that Stitch is the top selling character on Disney Parks merchandise beside Mickey Mouse.

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Lilo and Stitch is about two eccentric people who become family.  After Dr. Jumba Jookiba is arrested for genetically creating the highly uncontrollable Experiment 626, the experiment is sent to exile on a desert asteroid.  However the highly intelligent kola-like creature manages to steal a spaceship and send it into hyperdrive before crashing in Hawaii.  He's taken to the animal shelter while the Grand Councilwoman dispatches Jumba and Agent Pleakley to find and capture Experience 626 using the upmost discretion.

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Hawaiian native Nani is struggling to take care of her little sister, Lilo, after the death of their parents.  She's under pressure from the social worker, Cobra Bubble, to be a steady figure for Lilo...or else.  In order to help Lilo out of the grief of losing their parents, Nani agrees to let her adopt a dog.  At the shelter, Lilo only has eyes for Experiment 626 disguised as a dog.  Despite Nani's hesitation, they bring him home and call him Stitch.

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As Jumba and Pleakley try but fail several times to capture Stitch, the Councilwoman tells them they can use less covert methods of capture.  This causes Lilo to get captured by Captain Gantu.  It's up to Nani, Pleakley, Jumba, and of course, Stitch to save Lilo....which of course they do.  After seeing that Stitch has become civil, the Councilwoman agrees to let him be exiled to earth.

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Lilo and Stitch spawned three sequels, a 65-episode tv series, video games, and theme park attractions.  The film was released in June of 2002 and has a runtime of 85 minutes.  It features music by Alan Silvestri and was produced by Clark Spencer.

Now that we've covered the first five films in the Post Renaissance Ear of Disney Animation, it's time for you to tell us your favorite!  Tweet us your favorite film to  @TMKBpodcast!

Robyn Fleenor is a contributing writer for The Mouse Knows Best Podcast. She is an avid Disney
fanatic and would rather be at Walt Disney World eating glazed almonds than anything else.  When
she isn't working to pay for her next Disney vacation, she likes to binge watch TV shows and fall in
love with fictional characters. She can be found tweeting at @rahrah6263.