For another, the leads are deeply unpleasant, though not for lack of so much effort. It is a musical with terrible, lazy music, the kind that people who think they hate musical theater think all musical theater is. This 2018 version makes some grave mistakes, though. Lindsay Lohan and Jamie Lee Curtis proved that when she remade the 1970s Jodie Foster Freaky Friday for the 2000s. There is nothing wrong with remaking a classic for a new generation. Why was this done? It very much did not have to be. That’s right: 16 Wishes is not DCOM canon. In 2010, Disney aired another MarVista Debby Ryan original in conjunction with a different Canadian kids network, and didn’t even grant it entry into the DCOM pantheon at all. If the Gen-Z culturati has decreed that Radio Rebel should be singled out and ridiculed, who am I to argue? Radio Rebel should consider itself lucky. The performances by Ryan and the background actors alike have become something of a TikTok meme recently, singled out and mimicked in cringe compilations. That would explain the decidedly unheimlich vibes of this Debby Ryan disasterpiece, about an awkward girl who’s secretly the most popular underground radio DJ in all of Seattle. Based on the original trailer, Radio Rebel was produced by third-party producer MarVista Entertainment and distributed by the DCOM machine after the fact. The real reason why Radio Rebel isn’t available on Disney+ probably has less to do with shame and more based on distribution rights, due to it being a co-production with Canadian kids network YTV.
They need to learn about Smart House.Ī DCOM so bad, Disney has more or less disowned it.
Maybe you’re watching these out of nostalgia or boredom maybe you have kids at home and are looking for all-ages content to play during quarantine. So we’ve gone ahead and ranked all of them to help guide you through the catalog. The fantasy ones are hit or miss the science-fiction ones usually slap.īut good or bad, nearly all of them are available to stream on Disney+, making them easier than ever for you to revisit. Generally, if a DCOM is about learning to express yourself creatively, it plays better than the dead-parent ones, or the sports ones, or the ones about a protagonist learning to respect the differences between them and their bully/crush/townies. The works of Disney’s greatest living auteur, Kenny Ortega, for one. But if theatrical releases are Oreos, DCOMs are Hydrox. I say this from a place of love I host a Disney Channel Original Movies podcast.
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They are paced strangely and slowly and follow kid logic or, rather, a TV executive’s idea of kid logic.
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But most DCOMs walk like a movie and talk like a movie and yet feel like an uncanny species of sub-movie. Some of them hold up wonderfully or are at least great examples of Y2K fashion. You’re nostalgic for a time when you were young and thought DCOMs were good, a time when you watched Wizards of Waverly Place at the rate at which you now watch presidential addresses (which is to say daily, unfortunately). I warn you: You’re not nostalgic for Disney Channel Original Movies. To paraphrase Matthew Broderick in Kenneth Lonergan’s Margaret, which is about teens but very much not a Disney Channel Original Movie: Take it from someone who just watched every single Disney Channel Original Movie on Disney+: You think you want to revisit a Disney Channel Original Movie from your youth. Photo-Illustration: Vulture and Disney Channel
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