‘Launchpad’ on Disney+: Which of Disney’s New Short Films Are Worth Watching?

Sadly for DuckTales fans, not a spinoff for the same-named incompetent pilot, Disney+’s Launchpad is instead an anthology of live-action shorts designed to give a voice to those the Mouse House has previously underrepresented. A noble initiative for sure, and one which further proves that the newest streaming powerhouse is serious about rectifying its company’s past mistakes – back in March it blocked any viewers seven and under from accessing numerous classics deemed to be culturally or racially insensitive. 

Admittedly, the fledgling directors who earned the opportunity to showcase their talents in front of nearly 100 million subscribers weren’t left entirely to their own devices. Selected from approximately 1100 applicants, the lucky half-dozen were mentored in everything from script development to postproduction by more experienced names within The Walt Disney Company’s many divisions. Yet impressively each of the six “deeply meaningful personal stories straight from the filmmakers’ heart” still possess an individuality which makes the whole concept worthwhile. 

Following the trials and tribulations of a Mexican-American teen with a human father and vampire mother, Ann Marie Pace’s “Growing Fangs” is perhaps the only short that could be adapted into a feature-length movie or spin-off TV series. There’s certainly plenty of scope to explore both the monster school (which amusingly can only be accessed via a dog kennel) that leaves Keyla Monterroso Mejia’s Val questioning her identity and the home life where family meals are interrupted by unintentional levitations. In just 19 minutes, Pace builds an intriguing comical world in which bullies can be defeated by garlic sauce and, in a clever nod to the era it was filmed in, spells can be thwarted via hand sanitizer. 

“American Eid” also embraces the subject of acceptance (Launchpad‘s first season is officially based on the theme of “Discover”). Aqsa Altaf’s delightful contribution focuses on Ameena (Shanessa Khawaja), a young Pakistani immigrant determined to change her school’s policy on the eponymous Muslim holiday. Unfortunately, opposition comes from the older sister far more concerned with TikTok dances and getting her own room than petitioning for an extra day off. Ameena’s heartbreak on learning that the sibling she idolizes is embarrassed about their shared heritage is all too palpable, making it impossible to begrudge the inevitable happy ending. 

Not all of Launchpad‘s resolutions are as optimistic. In Hao Zheng’s “Dinner Is Served,” Chinese student Xiaoyu (Qi Sun) attempts to climb his way up from potwasher to “penguin” (i.e. maître d) at his American boarding school’s fine dining room, only to discover the headmaster (played by Twin Peaks‘ Ray Wise) encouraging his ascent has a tokenistic motive. “Working hard isn’t always enough” is a pretty sobering message to take away from a Disney short, while the song lyrics Xiaoyu hilariously belts out in response to shellshocked diners (“life is repetitive and meaningless”) border on the nihilistic. Still, it’s a sign that the filmmakers were allowed to express themselves as much as the promotional spiel suggests.

Stefanie Abel Horowitz opts for a more meditative approach with her beautifully melancholic offering. “Let’s Be Tigers” has the slightest of narratives – teenager stricken with grief after recently losing her mother finds solace in babysitting a four-year-old. Yet as the pair playfully roar at each other and discuss the tricky issue of death (“Is Papa going to die?,” the impossibly adorable kid asks), their human connection still tugs at the heartstrings as effectively as any Pixar weepie.

Although it centers on a mythical creature that feasts on the blood of goats, Jessica Mendez Siqueiros’ Spanish-language “The Last of the Chupacabras” is the film most likely to keep younger viewers hooked. With its giant puppy dog eyes, colorful coat and dancing abilities, the titular urban legend has the kind of ugly-cute quality that could spawn a range of merchandise. But it’s matched in the lovable stakes by the lonely old woman (Melba Martinez) who it’s inadvertently summoned by and forges a hugely touching bond with. It’s a delightful odd couple tale which contains the most entertaining payoff of the lot. 

But just when you think your heart can’t take any more, along comes the final and arguably the most affecting short. Moxie Peng’s “The Little Prince(ss)” sees two Chinese seven-year-olds, Gabriel (Kalo Moss) and Rob (Ching Yin Ryan Hu), strike up a friendship. But while the former’s supportive parents are delighted their ballet-loving, doll-playing, pink-obsessed son has found a kindred spirit, the latter’s father becomes increasingly concerned. With its critique of gender stereotypes and toxic masculinity, Peng’s calling card is that most modern of Disney stories, buoyed by a tear-jerking performance from Moss as the youngster simply living his authentic self.

It’s rare for an anthology series to sustain the same standard across all episodes. But each one of Launchpad‘s six filmmakers have put their name on the map with works that cleverly tap into Disney’s emotional core but from a long overdue different perspective. 

Jon O’Brien (@jonobrien81) is a freelance entertainment and sports writer from the North West of England. His work has appeared in the likes of Vulture, Esquire, Billboard, Paste, i-D and The Guardian. 

Watch Launchpad on Disney+