“There are two wolves,” says Casey of Tomorrowland. “One represents darkness and despair, the other light and hope. Which one survives?” To be sure, the philosophizing throughout Brad Bird’s latest film is never any more subtle than this (or less). Casey, optimist to such a ridiculous degree that we learn that about her before we even learn her name, disregards any need for subtext and instead just states the thing itself: “I’m an optimist”. She answers the wolves question in a similarly matter-of-fact manner. Which one survives? “The one you feed.”
Happily, we put this very quote to work in our review of an episode of The Red Road called “The Wolf and the Dog“. It’s much less of a stretch here in Tomorrowland, and again, you don’t really have to stretch at all. It’s plainly clear that the vast majority of today’s storytelling is geared towards the grim, towards the harrowing action-filled future, towards the Cormac McCarthy-style doom and gloom. This is true of almost every medium and almost every target audience, but since Tomorrowland is so much in line with the present Young Adult craze (and because Casey is a teenager) we’ll deal in that genre. The examples should leap readily to mind: Hunger Games, The Maze Runner, The Giver, Divergent, The Mortal Instruments and Ender’s Game are all youthful dystopias with damn similar plots and damn similar everything else. Even Harry Potter, while not dystopian in any way, was a kid’s story turned dark and brooding on screen (see: everything after Daniel Radcliffe grew up).
Motion State Review 