As I have discussed on Disney In Depth recently, the purchase of three key film properties – Pixar, Marvel and Lucasfilm – that have further realized Disney’s influence in the entertainment industry. Even the 2004 acquisition of The Muppets has forever changed the outlook for Jim Henson’s most adored faces. All of these characters unite the geek community, even those who enjoy Disney. In this edition, I will share some popular YouTube videos that spoof Marvel Studios, Pixar, Muppet, Star Wars and “regular” Disney films by featuring some famous personalities from the whole Disney universe.

Wreck-It Ralph smashed box office records for a Disney animated film in its opening weekend, and won over critics and audiences no less. With its creativity, heart and passionate storytelling, Wreck-It Ralph signals Walt Disney Animation Studios is back in the game, so to speak. This edition of Disney In Depth will explore what has led up to this new hit for the studio, as well as what awaits.

Many individuals say the Disney Renaissance began with 1989’s The Little Mermaid, with following entries Beauty and the Beast, Aladdin, and The Lion King reaching even greater heights – everyone seems to leave out the forgotten The Rescuers Down Under. Regardless, this represented a period of unparalleled imagination and inspiration within the studio, continuing for several years to follow. Then came the slump. Audiences were no longer interested in musicals, so it seemed, and Disney animation switched gears into the sci-fi realm with productions like Atlantis: The Lost Empire and Treasure Planet. Computer animation emerged, and with that advent Disney entered the new arena with misses like Chicken Little and the awkward-yet-smart Meet the Robinsons. None of these performed all that wonderfully. It had appeared as though Disney lost its touch. But the studio had some exciting developments up their sleeve.

We were all shocked to discover when Darth Vader revealed himself to be Luke Skywalker’s father. But we experienced perhaps even more shock when news broke this week that The Walt Disney Company was acquiring Lucasfilm, George Lucas‘ 41-years-strong company. Now, Mickey Mouse will be both Vader’s and Luke’s parent, though not by blood — what an awkward “modern family” that deserves some critical examination.

Puns and jokes aside, this $4 billion purchase follows what has been a whirlwind of new ventures for Disney in just the past seven years since Bob Iger attained the role of CEO of The Walt Disney Company. 2006 marked Disney’s purchase of Pixar. 2009 signified Disney’s purchase of Marvel. And now 2012 represents news of Disney’s purchase of Lucasfilm. One can only imagine what the Mouse House will obtain in 2015 if this ironically-consistent pattern of buying a big entity every three years continues. These heavily-expensive, but ingenious acquisitions reflect Disney’s focus of branding and leveraging well-known and well-received properties.

More than a year ago, Walt Disney Records released a soundtrack to little fanfare within the general music community, but rightfully deserves some attention. Collect a bunch of famous Disney tunes and gather some jammin’ jazz artists. Spin the two together and your creation is an awesome assortment of standards breathing new energy. Here is my review of Disney Jazz Volume 1: Everybody Wants To Be A Cat.

1. “Ev’rybody Wants To Be A Cat” by Roy Hargrove: The Grammy-winning trumpeter lends his potent musical skills into mixing up this classic tune from The Aristocats. While the first minute or so of the five-minute cover closely resembles the jazzy piece, he then spins some impressive arrangements. I could imagine listening to this strong instrumentation in a coffeehouse or lounge. Though it steers off in a different direction for much of the entirety, Hargrove returns to the memorable theme toward the end.

2. “Chim Chim Cher-Ee” by Esperanza Spalding: The artist who prevailed over teen sensation Justin Bieber at the 2011 Grammys as the “Best New Artist” adeptly takes control over the Sherman Brothers’ legendary melody. The orchestration possesses a French flair, with some light piano and accordion in the background at different points. Spalding scats with beautiful range in this romantic version that still stirs up a chilling sensation. Guesses are that if Dick Van Dyke has heard Spalding’s take on the piece, he would be pretty proud.

Somewhere beyond the sea, Finding Nemo returns to theatres in 3D! The breathtakingly gorgeous animated feature first provided audiences with a glimpse into the environments and lives of the ocean’s inhabitants just about ten years ago. Only Pixar could develop such an enchanting atmosphere with a heart-tugging story that grasps the audience’s full attention as much as the visual “eye candy.” For a number of reasons, this is quite possibly the most immersive and entertaining 3D film I have experienced.

To be considered in this extraordinary league requires several components, and Nemo delivers in all of these ways. For one, you need a compelling plot. Who can argue with gripping storytelling that ties us to the universal theme of parents allowing their children to let go? In this case, little clownfish Nemo’s surprising capture by a diver startles us. Here, caring father Marlin (voiced by the perfectly-cast Albert Brooks) finally brings Nemo (Alexander Gould) to his first day of school, and in a matter of minutes and an act of defiance, Nemo wanders beyond the reef. Caught. Gone. We feel for Marlin, lost without his little boy, and also for his son, now stuck in a dentist’s office aquarium. Now it’s up to each of the fish to face their fears, overcome their doubts, and attempt to reunite. Compelling, check.