Zootopia and Subtlety

I’m thinking about Zootopia a lot lately, so that’s what you get a post on. I’m going to preface this by saying that there are a lot of reviews that praise its subtlety; I’m not picking this topic because it’s a trend in commentary or anything. I’ve just seen this kind of comment more than once and I wanted to respond to it, and also to tell you guys about some of the neat things I and others have noticed in the film, because it just makes me happy as a storyteller and casual film buff to see artful screenwriting like this.


People have had varying reactions to the concepts of prejudice in Zootopia. One of the early reviews I read (which I can’t find anymore or I’d link to it) said “It’s not as subtle as Pixar’s best work,” which I found a little head-scratching. Not as subtle as the mountains of garbage and corpulent people on floating beds in WALL-E? Not as subtle as Syndrome saying, “When everyone’s super…no-one will be.”? The tone that I get from the people complaining that it’s not subtle are the ones who think that Judy’s “A rabbit can call another rabbit cute, but when other animals do it…” is hitting the nail too squarely on the head, that Nick’s, “You can only be what you are” is too starkly presented as a straw man to be knocked down.*

(* And also, if we’re comparing movies that are subtle about prejudice and racism or even just big social issues, let’s not confine ourselves to Disney/Pixar. Zootopia comes off well in comparison to racism-themed Oscar winner Crash, which had all the subtlety of a brick wrapped in a sledgehammer and even at the time felt about twenty years out of date. I may still be bitter about Brokeback Mountain not winning best pic that year.)

Here’s the thing: those statements are pretty stark, yeah. But they set up interactions and scenes later in the movie. They’re necessary to establish the context in which the rest of the movie takes place (let’s not forget that this movie needs to be accessible to kids). And that’s where the subtlety comes in. Judy establishes that being called “cute” is offensive to rabbits, and then Nick’s remark to her that “a toy store is missing its stuffed animal” becomes not just rude, but a microaggression, something deliberately calculated to be hurtful based on her species. But she doesn’t break the flow of the conversation to point this out again. After his third ‘cute’ comment (he calls her a “cute meter maid” at their first meeting), she does say, “Don’t call me ‘cute’,” as they’re about to set off on their investigation, but it’s sharp and matter-of-fact, delivered with just the right amount of “I’m about fed up with this.”

Judy’s Fox Repellent, similarly, is kind of right up front–but it also sneakily doubles as a symbol, the kind of thing that very smart non-animated movies also do. It’s not just a convenient thing to signal to Nick that she’s not really over her prejudices. It’s a stand-in for prejudice itself. We most often get our prejudices from our parents and though we might think they’re stupid, we still carry them around with us. We might forget about them because they’re so small, but they’re often obvious to other people (Nick: “Don’t think I didn’t notice that the first time we met.”). And in a stressful situation, we find ourselves unconsciously reaching for them.

What I think is beautiful and subtle about Zootopia is the way it has so many moments and points that it just lets happen without calling attention to them. The biggest is in the climactic scene, when we’re so caught up in our heroes foiling the plot that it’s easy to miss that Judy has just let Nick put his teeth on her throat. There’s no acknowledgment of that moment, of the trust that now exists between them and the giant step she’s taken–it’s masked by the callback to the beginning of the film and the triumph of our heroes. Similarly, not long after Nick explains to Judy his philosophy of “Never let them see that they get to you,” he breaks down in the press conference scene, visibly affected by her betrayal. That moment gains a lot of depth when you think about how much she must have reached him just before.

(The film’s structure is a little unconventional, but from a character standpoint the first half–up to that point–is really Nick’s story. His arc completes when he fills out the application Judy gives him, when he trusts someone enough to try to be part of something again. Judy’s character arc takes place in the second half, although most of the change is signaled in the scene under the bridge with Nick and the second half is more devoted to the two of them solving the case than to any character development.)

Zootopia is unsubtle in some areas, sure. But it’s as subtle as it can be, and that is largely why it works so well for adults as well as kids. Many of the points above I didn’t notice on a first viewing; several of them were pointed out by other people in discussions about the movie (and we can talk endlessly about the movie). The second and third time (and fourth and fifth) you go back to see it, you notice new things: about the story, about the characters, about the world building. Picking up later on things you didn’t notice the first time, or having other people notice things you missed–that’s subtle. I’ve watched a number of Pixar and Disney movies multiple times, and I don’t think there’s another one that’s had so rich a world behind it or such complexity in two main characters.

Share Button
This entry was posted in Life and tagged , . Bookmark the permalink.

11 Responses to Zootopia and Subtlety

  1. The Gneech says:

    Subtlety is in the eye of the beholder. “Articulate” and “don’t touch a sheep’s wool” went over a lot of my white friends’ heads, but were clear as a bell to my black friends, I suspect.

    • Kyell says:

      Yeah, that’s why I was trying to point out that subtlety is more indicated by “wow, there’s a lot of stuff I didn’t catch the first time that actually helps support the theme.” It’s easy to say “this film isn’t subtle” if it’s speaking your coded language, but even then it sets up its OWN code (“Cute”) and then uses it–I think that’s pretty subtle.

      (Also, how impressive is it that a Disney film is making us have a conversation about the coded meanings of “articulate”?)

  2. Nekura says:

    One of the most striking lines for me was Nicks “Oh, so there’s a ‘them’, now?” As there really is a them as it is the start of the major conflict of the movie, but is also a really subtle clue because throughout the first part of the movie, Bellwether uses the phrase “Us little guys” multiple times.

    Zootopia has to be watched multiple time, that is what makes it so good.

    • Kyell says:

      “You’re not like them” is another phrase with history and meaning. It’s often used by people (sometimes subconsciously) trying to hold on to prejudices even when they know someone of a particular minority. “I can’t stand how those gay people act,” someone might say, and then to their gay friend, “Oh, not you. You’re not like them.” It’s the pitch-perfect thing for Judy to say there because it reveals her prejudice in the act of trying to reassure her friend. She thinks she’s being nice and doesn’t understand why that just hurts Nick even more. That whole conversation is so well done: you can see what’s happening to both of them as Nick starts out trying to explain to Judy why what she said was hurtful and then getting more frustrated as she clearly doesn’t get it, while she feels blindsided that her friend, who was so supportive five minutes ago, is now attacking her.

  3. Diego says:

    Another detail that you only notice in the credits, Judy’s neighbors may be a married couple, same last name, they could be brothers too… I’m holding my theory for the moment

    • Kyell says:

      We’ve discussed this extensively. :) They’re different species with the same hyphenated last name. It’s as obvious as they can make it that Bucky and Pronk are a same-sex married couple.

    • AshTheFox says:

      Honestly I like how they were able to insert problems on prejudism through an anthropomorhic movie. It teaches children about racism and and everything but it also keeps a friendly way because its Disney. I know some people said that “oh look another girl power movie.” When the other trailers came and I looked a bit dumbfounded because Disney never really showed girl power there. Its nice to see how they can relay messages onto children however I think some things that may not seem subtle or not safe for children are ok, honestly, in my opinion after studying upon the development on a child (yes I had to actually learn about childrens development in every single way) and seeing how kids grow up, I think its ok.

      Kyell my only question left is to you, Does Nick and Judy like each other? I doubt since its a childrens movie but I dont know yet

  4. darkclaw says:

    This movie is going to be one of my favorites for a long time. Disney was so brilliant with this movie. They made a brilliant movie about prejudice and how it can affect so many and did it in such a way that a lot of people don’t realize that they’re being taught a lesson. It was clear as day to me that these characters, even the minor ones were developed beyond just a normal movie. They filled the city of Zootopia with people who felt real. Each one having their own personality, history and relationships, the level of care and artistry shown by this alone astounds me. They took the time to research the animals which they were representing in the movie and used that research to give the characters the minor nuances that they needed to feel like I could visit Zootopia and talk to Emmit Otterton and his wife and their two pups.

  5. somercet says:

    I think this link:


    says a lot about how [i]Zootopia[/i] was differently conceived from how it was filmed. The film version we all saw was an extended metaphor for Anthros Who Are All Alike (AWAAA), while the original conception was about Anthros Who Differ (AWD). The latter would probably have been quite a different film; pity we don’t have the original treatment.


    (crossposted to Fur Affinity.)