NYT Reviewer Bemoans Lack Of ‘Kink’ In ‘Little Mermaid’ Remake

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The New York Times raised a few eyebrows with its review of Disney’s newest live-action adaption, “The Little Mermaid, bemoaning, among other things, the lack of “kink” in the fairy tale film.

Slamming the latest of Disney’s live-action remake as “desperate for approval,” New York Times critic Wesley Morris  argued the film lacks  “joy, fun, risk, flavor.” Though the film has been marketed as family-friendly, Morris felt it could have used more “kink.”

“The New York Times wants “kink” in a movie made for children, and they’re sad that The Little Mermaid doesn’t have any of it,” conservative political commentator Ian Miles Cheong observed on Twitter.

His sentiments were echoed by conservative director/producer Robby Starbuck, who pointed out that kink, in the informal sense of the word, refers to an individual’s unusual sexual preferences. “Same media denies the left sexualizes kids. The reviewer needs his hard drives reviewed,” Starbuck wrote.

Vice President of Pedagogy at Higher Ground Education Matt Bateman disagreed with the likes of Starbuck and Cheong, arguing that though the use of the term “kink” was “terribly imprecise” for describing the problem with romance in children’s movies, there was a problem nonetheless. “Romance in children’s movies,” Bateman argued, “has become more jokey and sanitized and sterile.”

“Modern Disney courtship (Tangled, Frozen, etc.) is a lot less inspired and enticing than golden age Disney courtship (TLM, Aladdin, etc.). For all the many things were wrong wrong with the latter, I think the slightly transgressive sexiness was actually a positive,” Bateman continued. (RELATED: Disney Changed Lyrics In ‘The Little Mermaid’ Remake Because ‘Kiss The Girl’ Was Too Rapey, Apparently)
Morris lauded the film for the “messiness” of Lin Manuel Miranda’s new song for the film entitled, “The Scuttlebutt,” wondering how Disney will apologize for its inclusion in the next 34 years.
“Here’s an Asian American performer whose shtick is a kind of Black impersonation, pretending to be a computer-generated bird, rhythm-rapping with a Black American man pretending to be a Caribbean crab. It’s the sort of mind-melting mess that feels honest and utterly free in its messiness, even as the mess douses a conveniently speechless Black woman,” Morris wrote.
“Watching it, you realize why the rest of the movie plays it so safe. Because fun is some risky business. This is a witty, complex, exuberant, breathless, deeply American number that’s also the movie’s one moment of unbridled, unabashed delight,” he concluded.