Zootopia (2016): Expansion and Diversification or On the Utopian Faith in Universal Equality/Equity
The year 2016 saw the release of two animation works, which seemed to challenge the status-quo on the volatile and highly competitive entertainment market: Zootopia, the story of an utopian universe in which mammals, both preys and predators, co-exist in peace and harmony, and Angry Birds, telling about the brutal intrusion of pigs into the highly tranquil village of a secluded island with flightless birds as inhabitants sharing a happy, undisturbed life. Both Zootopia and Angry Birds arrived against the backdrop of increasing xenophobia and isolationist policies in wealthy countries, with leading politicians facing increasing pressure from frightened citizens to reinforce measures against an influx of newcomers from poorer regions of the planet towards the affluent North-West. Angry Birds tells the story of the brutal intrusion of pigs into the highly tranquil village of a secluded island with flightless birds as inhabitants sharing a happy, undisturbed life – the bleak vision of a closeted community with little room for individual peculiarities and freedom. Thus, the principle “all for one and one for all – but only among ourselves”, as enticing as it might seem at first glance, loses its brightness – and opens the gate for a warmer, softer encounter with the others. Zootopia presented an utopian universe where mammals, both prey and predators, coexist in peace and harmony, reinforcing the microscopical vision of the concept “unity within diversity” and the hidden challenges – as well as promises – included in it. As Judy Hopps, the main character, explains at some point, faith and courage are necessary to overcome old paradigms of behavior – but is it really that simple, this colorful utopia of a perfect coexistence in accordance with the principle “unity within diversity”?
Directed by Byron Howard and Rich Moore, Zootopia is an animated movie released in 2016 by Walt Disney Pictures, after being premiered at the Brussels Animation Film Festival in Belgium on February 13, 2016, and having gone into general theatrical release in various formats in the United States on March 4th, the same year. It centers around an unusual story: the unlikely partnership between a rabbit police officer, Judy Hopps, and a red fox con artist, Nick Wilde, as they uncover a conspiracy involving the disappearance of savage predator inhabitants of the mammalian metropolis of Zootopia.
Accordingly, the plot is simple: in a world populated by anthropomorphic mammals, rabbit Judy Hopps from rural Bunnyburrow, fulfills her childhood dream of becoming a police officer in urban Zootopia. Despite being the academy valedictorian, Judy is delegated to parking duty by Chief Bogo, who doubts her potential because she is a rabbit. On her first day, she is hustled by the con-artist fox duo composed of Nick Wilde and Finnick. As the story unfolds, Judy becomes entangled in an increasingly complex conspiracy, involving fourteen missing predators, with the climactic resolution which divides the otherwise peaceful and tolerant metropolis of Zootopia between preys (which are 95% of its population) and predators (which apparently can return very easily to their instinctual ways of hunting and killing the weaker mammals). Sad over the outcome of her efforts, Judy returns home to Bunnyburrow, but shortly afterwards she discovers the truth beyond the real background of the conspiracy, and returns to restore the peace and harmony in the now-torn city of Zootopia. However, with Nick’s help, who has estranged himself from her as a consequence of Judy’s previous moves, but who decides to join her in her efforts, she manages to uncover the truth with proofs, therefore restoring peace and harmony in the city and bringing back the atmosphere of trust and cooperation between mammals of various categories, who can now continue to co-exist happily in the same city. To make it for a beautiful ending, the film concludes with Nick graduating from the Zootopia Police Academy as the city’s first fox police officer and becoming Judy’s partner.
The reasons for Zootopia’s global success are manifold. Firstly, the plot address issues of prejudice, lack of transparency, and the damage brought upon innocent victims by xenophobic views of education is a big topic in times of increasing waves of hatred and political isolationism and deeply resonates with global audiences. Nick’s trauma and his consequent decision to simply be whatever the other might think of him – that is, “a fox is sneaky and untrustworthy” – is a common phenomenon known as “labeling”, in which one’s own identity is modelled upon the expectations and reinforcements of the environment and prevailing stereotypes, hence suffocating the individual’s personal aspirations and abilities (which remain unknown, unless miraculously discovered by a happy turn of the events). The concept of “unity within diversity” is fundamental in creating the societies of the future with the focus slowly changing from the racially, religiously or even familially centered educational models towards those based on individual fulfilment and recognition.
Directly related to this problematic, a significant element that sets Zootopia apart is its lead character, Judy Hopps: an energetic, hard-working young lady-rabbit, Judy is a refreshing change from traditional Disney heroines focused on romance or family loyalty. Judy’s focus is on her dream career as a police officer and serving her city. It embodies an unusual ideal, risen from the faith in a world in which all inhabitants can live in harmony and understanding, transcending racial differences (which seem in Zootopia’s world to be at the foundation of everything else, beyond religious or gender-related differences). Judy’s ability to accept mistakes and reconsider former conclusions makes her relatable and inspirational: in a world which requires perfection and absolute self-confidence with no space for individual regressions or mistakes, Judy’s fallibility is what makes her “more than human” and brings her more closely to viewers who, thus, gain insights into the necessity of repeated attempts and unavoidable failures on the way to personal excellence.
A third element related to Zootopia’s appeal to audiences worldwide is Nick’s compelling character, a victim of segregation and social isolation. Initially appearing as a cynical con artist, Nick’s evolution becomes central to this delightfully well-orchestrated parable about trust and tolerance versus panic and prejudice, his actions openly turning him into an encouragingly upbeat celebration of love and diversity in times of hatred and uncertainty. His journey from a life in the shadows to serving the community, and being accepted as an equal, mirrors Judy’s development from a naïve country girl to a mature citizen: their interaction transcends the usual boy-meets-girl trope, evolving from deceit to compassion and cooperation. Furthermore, the interaction between him and Judy overcomes the usual story of boy-meets-girl: their encounter is one of deceit counterpointed by compassion, and unveiled in the course of the story as such. However, in parallel with Judy’s development from a naïve country-girl into a mature citizen, Nick follows a similar path from leaving behind a past in the shadows of normality towards a life in the service of the community to which he belongs – and by which he is, at last, accepted as an equal member.
The open joy of this animated celebration of the “unity within diversity” ideal came as a fresh wind on the background of increasing isolationist policies of protecting wealthy countries from outsiders. Moreover, the dynamic vitality of Zootopia’s main characters as well as their vivid interaction contribute to the movie’s appeal while bringing forth the film’s argument for cooperation between men and women in a late-modern world which emphasizes individual dreams and ideals as the foundation of identity, challenging conformist societal expectations: more than the sociocultural environment in which humans are born, one’s own ability to follow one’s own dreams and ideals are the foundation on which the individual identity is constructed. This is a pivotally progressive view on the individual’s role within society, contrasting with traditional notions that prioritize group regulations and expectations for national well-being over individually explored options and the resulting unique contributions.
The “unity within diversity” principle, championed in Zootopia, seemingly resonates with universal calls for unification and emancipation – but underscores, ultimately, the fallacy and promise of utopian ideals. The movie suggests that a society based on equality, progress, individual determination, and strength is achievable, as the sociocultural ideal of expansion through diversification in accordance with generally accepted human rights as applying to all living inhabitants of this planet, seems like a workable plan – and blatantly ignores such practical questions of different cultural (including religious and ethnic), educational and even technological backgrounds, as the ideological background of Zootopia is distinctly Western, promoting a worldview centered on equality and progress. This view assumes that individuals can overcome systemic barriers through sheer willpower and determination, a notion encapsulated by Judy’s disregard for authority and rules in pursuit of self-envisioned justice. Most notably, the city of Zootopia appears indeed as offering fair chances to all those who are willing to try their luck resulted from individual discernment and strength, and from an ineffable feeling of “if you want it, you can do it”.
Furthermore, questions of hierarchy and awareness of one’s position, as represented by Judy’s confrontation with Chief Bogo or her simply leaving her assigned parking post to follow a different issue, within the system are left aside, facilitating the impression that disrespecting the law and the prevailing rules (written or not) is allowed in case of exceptional individuals. This is the fallacy of “excessive self-confidence”, in which case the paradigm of “exceptional until proven otherwise” might more often than not prove wrong. The major point with the “unity within diversity” principle is that it cannot function, realistically speaking, without a pre-set system of laws and regulations, which stem, always, from a specific worldview within a particular geographic-historical developmental framework. However, it is exactly this pre-set system of laws and regulations which preemptively excludes newcomers from a different framework, who could provide fresh inputs, if allowed to do so – and how is there supposed to be differentiated between the “good” newcomers and the “bad” newcomers, if not based on the same system which actually excludes them, precautionarily, in the name of itself? Thus, such an utopian ideal faces significant challenges: the pre-set system of laws and regulations, necessary for maintaining order, often preemptively exclude newcomers from different backgrounds. This complex issue strikes at the heart of individual and collective identity, raising questions about the feasibility of true universal equality. This dilemma runs deep, until the very core of what “we” are, as individuals and as a community composed of those very individuals – and it is not an easily solvable dilemma.
Zootopia presents a hopeful vision of a world where unity and diversity coexist harmoniously. Its characters, plot, and themes challenge viewers to reconsider their own prejudices and beliefs about diversity and inclusion. While the utopian ideals portrayed in the movie may not be entirely attainable, they offer a valuable framework for imagining and striving towards a more inclusive and equitable society, more profoundly in tune with the Enlightenment’s ideals.
