We Want The D

We Want The D is a Disney movie review show with the energy of friends returning to a long argument they never quite finished. It is not reverent. It is also not detached. The group watches Disney films as adults, then works through the strange aftertaste of movies that once felt simple, magical, embarrassing, formative, or all of those things at once. A typical episode moves fast: plot summary, immediate objection, remembered detail, side joke, sharper claim, and then another person jumping in with the thing that changes the angle. The show covers animated classics, live-action remakes, Disney Channel movies, older adventure films, and newer releases such as Strange World, Haunted Mansion, and The Little Mermaid. Its best mode is affectionate demolition. The group can love a performance, a song, or a piece of storytelling architecture while still noticing when the whole machine is being held together with convenience and brand management. The Lion King brings out the show’s respect for tight story construction, especially the way Simba and Mufasa’s relationship is set up with clean emotional purpose. Mulan becomes a fight about whether the movie gives its heroine a clear enough want, and the disagreement is part of the fun. Haunted Mansion pushes the conversation into darker territory, with the group picking apart how a family film handles grief, manipulation, and a child’s wish to follow a dead parent. The Little Mermaid remake gets treated as a case study in cautious adaptation: new rules, new songs, environmental gestures, and choices that seem designed to avoid the force of the original. Strange World prompts frustration over worldbuilding, technology, fuel, and stakes that appear important until the film forgets to keep them urgent. Even a deep cut like The Island at the Top of the World becomes a way to talk about failed adventure filmmaking and Disney’s habit of dreaming beyond the material on screen. The comedy is loose and reactive, but the criticism is specific. The group notices character motivation, song placement, animation choices, casting presence, franchise logic, and the weird moral math inside family entertainment. It is a show for listeners who can enjoy a childhood favorite and still want someone to ask why that bird is there, why the fuel rules stopped mattering, or why a remake feels scared of its own source material. Nostalgia survives here, but it has to earn the room.