Reinventing the Fairytale: Puss in Boots and the Gen Z Narrative

Prompt

A poster for my thesisIntroduction There is a common complaint amongst movie enthusiasts that, nowadays, billboards have been stripped from any sense of originality. Instead of creating new settings and plots, many production companies have opted for remaking their classic blockbuster franchises telling the same old stories with a new cast, aiming to make riskless profits (Stallworth, 2023). The success of this tactic has been debated. Although it has led to high economic profits, both critics and the public have expressed discontent at the results, citing a lack of originality and disrespect for the original sources as the main causes, along with missing the mark in presenting the values of the newer generations (Jones, 2022). One film shines from the ashes of failed sequels, Puss in Boots: The Last Wish. Released in 2022, The Last Wish is the sequel, to the spinoff (Puss in Boots, 2011), to the sequel (Shrek 2, 2004), to an arguably adult animation (Shrek, 2001) which adapts a children’s book (Shrek!, 1990)(Hill, 2023). Many people were expecting the film to follow the trajectory of other franchise equivalents and fail. Despite this, the film grossed over $485 million worldwide (The numbers, 2023) and has a critics and audience approval rate of 95% and 94% respectively (Rotten Tomatoes, 2022). The question then raises: What has made the Shrek franchise stand the changing generational perspectives? Our culture is shaped by and built on stories. Through them we learn the bases of what identifies us as a part of the group and that shapes us as individuals (Cremin, 2017). What we believe in, how we see the world and how to behave with others are all factors affected by the stories we were told as children and that we replicate as adults. When we grow up and move to other forms of media, those stories shift and transform to discuss more mature topics, but their core themes and tropes are still present, like a blanket of safety that tells us how the narrative is going to develop. Nevertheless, the world changes and our values with it. As it does, so do these stories; that way they can keep preparing children and adults for the new society forming. Changing the stories through generations creates a different perspective between those who have lived through different versions. The stories they hear and tell will be reflective of their generational reality. This essay argues that the success of the Shrek franchise in its almost 25 years of history is due to the ability of its creatives to adapt their plots and their characters, mirroring the lives and values of the young adult demographic. Through paying attention to the live events that have shaped the collective trauma of each generation, the Shrek writers have a deeper understanding of their shared perspectives and how they are different from the previous groups they have appealed to. From the release of the first film of the franchise Shrek in 2001, there have been significant social changes. The rise of social media and digital communications, the inclusion of women and feminine values into the creative field and most prominently the events during and following the 2020 Covid-19 pandemic. These events have fostered a new generation whose values centrer around the importance of self-improvement (Kaz, 2022) and living one's identity outside of social expectations - especially those around gender and public image (Klein, 2023). With an overall pessimistic and cynical view of the world, this generation is actively working to build a better future (Dokoupilová et al., 2024). Through activism and mental health, they care about the individual and collective wellbeing and leaving the world better than they found it (Parker, 2019). Analysing the source of these values, this dissertation will examine their presence in the film Puss in Boots: The Last Wish and compare it to how they differ from the dominant beliefs present in the earlier films of the franchise. This analysis seeks to provide a comprehensive understanding of what themes are relevant to the post-pandemic generations, how they came to be so significant and how the examined film manages to present them in a successful way. To do so, the paper will be divided into four chapters. The first chapter will set the theoretical background from which the text analysis develops. It will first discuss why ancient mythology and folklore – especially fairy tales – have become such a relevant narrative device. Through the perspective of collective trauma, there will be an examination of the role that fairy tales have played in developing a sense of community after the Covid-19 pandemic when dealing with shared fears and traumatic events. An exploration of the importance of fairy tales and mythology to modern systems of belief to reconstruct a sense of safety and meaning. Looking at the historical background of the two main films being analysed (the first and latest of the franchise) will establish the perspective of creators and their target audience of two very different social groups; confronting the technology focused early 2000s to the tradition seeking 2020s. The incorporation of women onto the creative team, along with the importance of the collective over the individual has changed the social perception around self-sacrifice and thus question the traditional image of the hero. From the visual aesthetic of what a Saviour should look like to questioning the inherent need for them in society and in the stories that seek to represent it. An analysis of the use of humour throughout the series will see its use as a tool both for confronting the social issues of its time. Pulling from collective trauma theory, an argument will be made on the use of humour by the younger generations, focusing on its use as a tool of cohesion, to create a sense of community through relatability and digital culture. The second chapter will apply the theoretical background around collective trauma theory to explore the change in tone and approach to fairy tales from the first to the latest film in the franchise, having moved from a parodic standpoint to paying homage to the most traditional stories. Focusing on why this change is significant to the collective knowledge of post-pandemic generations, a connection between the collective fear of death and the character of Wolf will be established. Themes around the collective and its importance for mental health will be discussed while discussing the similarities and differences in the approach to the topic throughout the franchise. The third chapter of the dissertation focuses on the changing nature of character archetypes. Throughout the first movie and its sequels, there has been an underlying analysis of the role of the Saviour in fairy tales and media in general. While the earlier films focused on a message around “anyone can be a hero”, the latest release questions the validity of the trope itself. Through the character of Puss, the film raises questions around the sacrifices one should make for the “good of others”, the consequences of letting one’s identity be defined by their purpose towards others and the importance of the authentic self. Moreover, it also examines the changing attitudes towards mental health and the role of medical professionals, approaching the social importance they had during the global pandemic. The last chapter analyses the differences in humour throughout the saga. Shrek is known for its parodic humour, social criticism and visual gags. It is one of the characteristics that have defined its brand and one of the main reasons the films have stood so well to time. Nevertheless, there is a distinct shift in humour style in the latest addition to the franchise. Focused on self-deprecating jokes, parodying social norms and meta-humour, it is a well-developed reflection of the sense of humour of Gen Z while somewhat maintaining the parodic nature and visual gags that have defined the franchise. At the core of why this kind of humour works is the sense of protest behind the jokes, from defiance of power dynamics to social commentary, there is a message behind the comedy that the audience can stand behind. Identifying these messages can lead to an exploration of the values of each generation and how similar or different they are from each other.   Chapter I: Theoretical background. To understand what has changed from a good film in the 2000s to a good film in the 2020s it is important to realise the changes that the audience, as members of a population, have experienced. Calling the last few decades “eventful” would be an understatement. From a huge shift in gender dynamics to a literal global pandemic, it is hard to recognise the world we live in. Storytellers, fulfilling their roles as social teachers have had to adapt to the changing perspectives and cultural norms, the question is; What are those new values? 1.1 Collective Trauma and the Covid -19 Pandemic. Most of the strands of society have changed in unexpected ways since the early years of the 21st century, but one in particular shocked the world due to its global nature and catastrophic consequences. The Covid-19 pandemic affected not a specific group but all of humanity. Since January 2020 until December 15, 2024, the official death counts totals 7,079,142 (WHO, 2024). The cause of death was a viral infection, transmitted through the air with an unknown cure or vaccine months after the disease had already been declared a pandemic (WHO, 2020) - referring to pandemic as an unexpected increase of cases of an illness that has spread worldwide (Robinson, 2024). The whole world watched in unison the daily infection count, feeling the threat of death whispering in their ear. The whole of humanity experienced what psychologists call collective trauma (Stanley et al., 2021). The American Psychological Association (APA) defines trauma as an emotional response to a terrible event. Many psychologists argue that there are no human beings free from trauma. The big terrible events that cause trauma can be experiencing violence, emotional abuse, or the act of being born. Certain events that impact a whole community can cause what is called collective trauma. Events such as race based violence, natural disasters, or a global pandemic. The emotional consequences of such an event are shared between all members of the community and can have long-lasting impacts. In the process of trying to live with these consequences, individuals will develop new perspectives and values which, although not the same, will share similarities to those who have lived through the shared event (Hirschberger, 2018) in the way individuals interact with those within and outside their community. Social norms will adapt to the new dynamics and interpersonal relationships, and they will be passed down to the next generation, ready to be changed by the next traumatic event. In his article Collective Trauma and the Social Construction of Meaning, Professor Gilad Hirschberger describes the process by which a society reconstructs its purpose after a shared traumatic event. He focuses on the importance of community to create meaning, a collective narrative from which to develop values and guidelines meant to help future generations overcome similar situations. This process starts with a traumatic experience that includes an encounter with death or extreme death anxiety. When a prior social order had established a safe and carefree environment from which to explore less imminent or unavoidable issues. Then, an event shatters this sense of security, and the individuals are reminded of their most primal fears (Galea et al., 2003; Smelser, 2004; Hischberger, 2018). Feelings of loss of agency and worthlessness fill conversations and interactions, making people question their own importance in the grand scheme of things. This is where the collective finds meaning. This need for community is especially important for individuals still in their formative years. During adolescence and young adulthood, human beings for their identity separated from that of their families, they form social ties with peers and build their own support system which is meant to exist beyond the scope their parents (Arnett, 2000). Gen Z, is the generational group conformed by those who were between the developmental stages of tween and young adult when the Covid-19 pandemic hit in 2020. Meaning those born in between 1996 and 2012 (Encyclopoedia Britannica, 2025). These young people were impacted by the Covid-19 pandemic in a unique way. Generation Z, known for being the first generation to have grown up with a normalized use of digital technologies and social media, faced quarantine during a critical developmental stage while. They were unable to experience traditional rites of passage into adulthood. Instead they found themselves confined to their parents' homes, exposed to economic insecurity, a mental health crisis, and a global reckoning with mortality with no social network to help them through it. I.2 Community through tradition. According to Kahn et al. (2016), connecting with established traditions provides individuals with a sense of continuity and collective meaning. It allows for a connection not only to the present but also to a past and a future—offering something that transcends life and endures beyond death. Gen Z individuals were not able to partake in these rite of passage into adulthood and adolescence and missed the experiences that build peer to peer relationships – planning their graduation ball, going on their first adult free trip, helping each other study for exams… Although missing these events may seem like insignificant in the grand scheme of things happening in 2020, the lack of rituals created a fracture in the way young people were able to connect with their community, both their peers and their elders, who had been able to participate in those rituals (Akbar et al., 2024). The lack of connection to past traditions would endanger Gen Z’s sense of transcendence and have an effect on their sense of purpose and general mental health. It is due to the social disconnection gen Z individuals felt, they tried to find alternative ways of interaction which would not violate the social isolation guidelines. They found their communities in the way of neo-tribalism, connecting with those they share interests and experiences with, regardless of their geographic location though sub sections of the internet which focus on those interests – Subreddits, Tiktok’s communities, online games and very interestingly a resurgence of interest for alternative spiritual practices. Communities based on ancient pagan beliefs have gained popularity in recent years. Since the second half of the 2000s, there has been an increase in the number of people who identify themselves under the umbrella term “pagan”, with its most significant jump showing up in the census after the Covid-19 pandemic (Ears, 2023). Despite its discriminatory origin, “Pagan” currently refers to a variety of religious practices outside of structured mainstream faiths (Doyle White, 2022). Quoting Professor Sarah Pike “Pagans view the natural world as sacred. They celebrate the interconnectedness of all things, seeing humans, nature, and spiritual beings as part of a web of life.” (Pike & MacIntyre, 2001). They believe, that ritual practices have spiritual healing properties (Choate, 2022); recent research into the nature of collective trauma supports this idea. term 'healing properties of pagan practices’ refers to the ways these communities have helped practitioners find a sense of meaning after experiencing trauma. Younger generations have used their rites to find a new sense of community, and discovering in their mythology a connection with their own cultural traditions and the bases for their culture’s belief system (Owens, cited in Ears, 2023). Fairy tales are the fundamental stories any child grows up with (Danilewitz, 1991). They are consistent through time and geography with small alterations to fit a specific culture, but with overarching plots and narrative devices (Uther, 2011). These stories can be thousands of years old, and many are alterations of the foundational mythology of pagan practices. In a world that was changing fast, folk tales felt like a safe place. On one level, they reminded readers of simpler times as children where the burden of worry was on someone else. On another, these stories had everything that didn’t exist outside. There was, there was a clear plot that would get the hero to their goal, there was an obvious villain that could be defeated and there was always the certainty of a happy ending (Zipes, 2013). In a chaotic unpredictable situation, children’s stories are stable. The renewed interest for generation Z on traditional mythology and fairy tales is a consequence of the collective trauma the generation has suffered. It serves as a way to reconnect with their cultural experiences after not having been able to partake in the rites of passage that were meant to mark their transition into adulthood. Because of this lack of transition, they have sought the comfort of the stories of their childhood, which helps them reconnect with their safe inner child and the traditions beyond themselves. 1.3 Community through society. Social Media has opened the public sphere to many groups of people whose perspectives had historically been dismissed. Before social media, conversations around women were centred on the perspectives of men; since they were the ones controlling the means of public debate, they were the ones leading the conversation throughout all means of information distribution and choosing what issues deserved to be paid attention to. The #metoo was a social movement started through the platform Twitter (now X), which is said to have started the fourth wave of feminism. Although it initially started as a way to raise awareness on sexual assault, it opened the space for new ideas around gender to reach the public debate. These conversations focused on their opinion of women and their role within an androcentric society. Social Media was a free way to distribute one’s opinions and the means of distribution were not as controlled; women finally had a way to express their perspective and thus the discourses changed. This time, it focused not only on women as a social group but on the gender-based meaning of womanhood. It was no longer on whether or no women were too sensitive, but rather on whether sensitivity was an inherently bad trait. The change in the feminist speech to upholding ideas of the feminine as equally valuable to masculine one has reached the ears of creatives. Deconstructed masculinities, the value of community over self-ego, the inclusion of female characters as fully rounded individuals have become more present in recent years. Nevertheless, these concepts are still not the norm and present a contrast to the traditional archetypes the public is used to. One of the most significant ones was the ideal of the hero. How many times has a man self-sacrificed for the “good of humanity”? How many times has he left behind his wife and children for “the greater good”? The younger generation has become more critical of the supposed heroism of a person who would rather fight off aliens than change his son’s diaper. The perspective has moved from the pain of the hero to the pain of those left behind. Dr Kristian Frisks - sociology scholar on Heroism – believes that the growing social opposition to the figure this archetype stems from a deeper issue, the changed perception of heroic actions. He argues that the construction of a Saviour that performs an action worthy of applause requires the construction of an action that no other could perform. These actions are often not natural, since if they were humanity would be in a precarious situation, but rather a fake situation built specifically so that a hero can be created, and their desired narrative persists. This situation plays out both in real life and in fairy tales; there would be no need for fallen heroes in Vietnam if the US military hadn’t gotten involved in the Vietnam war, the same way there would be no need for a knight if they hadn’t put the princess in the tower in the first place. This development shows up in the Shrek franchise. In the first movie, there is a critique of the figure of the traditional Saviour. The film takes the traditional handsome powerful man that saves the princess and flips the script by giving this role to the traditional villain. Although this film subverts and critiques the concept of what “the good guy” is supposed to look like, it does not question the essence of this archetype. In contrast, the plot of The Last Wish is developed around the critique of heroism itself. The film points out the flaws in the identity Puss has developed around being everyone's “favourite fearless hero”. Maintaining the masculine ideals behind the figure has cost him his support system, his enjoyment of life and caused every one of his deaths. 1.4 Community through humour. It was comedian Mel Brooks who famously said, “Humor is just another defence against the universe”. Humour and laughter have proven to have a therapeutic effect in people with depression and anxiety since it encourages the production of emotional regulatory substances the depressed brain struggles to create on its own such as serotonin (Zhao et al., 2019) and pain reduction neurotransmitters like endorphins (Dunbar et al., 2012). Similarly, to the way a story can form a community around it, so can a good joke. Humour based on relatability and nostalgia, cultural references and even meta references, create points of connection between people which can be a good conversation starter. Pointing out the absurdity of a situation creates a common enemy for the community to laugh at together and strengthen the sense of belonging (Gheorghe & Curșeu, 2024). There is little room to question the importance of humour in human socialization and general wellbeing. From the beginning, the humour in its movies has relied heavily on fairy tale tropes and their parody. To be able to examine the full extent of the comedic tone in the series, there must be an understanding of parody. Parody is a dramatized version of a popular character, story or story type which points at the flaws within narrative, theme or structure common throughout the genre (Hutcheon, 1985). They usually take on a social critic perspective pointing out the flaws in political structures and poking fun at the expense of powerful figures through exaggerated physical traits, placing them in humiliating situations or by making them insufferable to watch. There is a gap in what different generations laugh at. Although there is a consensus that ridiculing and putting people on the spot is funny, the who and how can differ a lot. While older generations tend to prefer humour that elevates their own status or that is slightly more aggressive towards others; younger generations prefer to “sacrifice” themselves as the bottom of the joke (Tsai et al., 2021). Self-deprecating humour that others can relate to, from little daily mistakes like throwing yogurt in the sink and the spoon in the trash to videos of them confessing their sexual attraction to an animated horse under #hearmeoutcake (Tik Tok, 2024). This style of humour is based on two premises that are part of the core identity of gen Z as previously mentioned: authenticity and vulnerability. Sharing their true experiences, as embarrassing as they may be, gives a form of relief to the creator and intimacy to the audience who feel like they are in a safe space to share their own experiences. There is virtually no shame in what they share online, barely any limits, sharing both their deepest traumas and most basic difficulties of day to day life. It is through the relatability in their sense of humour that younger generations find community. Common tropes within their social group give them a sense of belonging and let them know that they are not alone in their struggle. An example of this is the #AndIStillStayed (Tik Tok, 2024) in which young people are sharing their traumatic experiences in abusive relationships on Tik Tok, with comment sections filled with positive messages and jokes around how absurd the situation feels after recovery. With the birth of social media came a new way of communication, the only one available during social isolation; and it came with its own rules, advantages and limitations. Attention spans shortened, people refused to read long texts and messages became fast, concise and visual. Meme culture developed, and hole jokes were condensed into a single image. The humour developed by the generations who grew up using this form of communication became subtle and referential, placing the joke within a digital cultural context which would repeat it to the infinity, transforming and simplifying it until it could be referenced with even simpler images. By combining multiple of these simpler visuals, one could create a single joke with multiple interpretations, and which actually holds deep social criticism. For example, it became popular to reference an episodic gag from the TV show Phineas and Ferb. The point of the gag is that the villain – a traumatized scientist who tries to take over tristate area while dealing with his sense of unworthiness – can't recognise his tile and orange platypus arch nemesis without his spy hat. With the re-sharing of different version of the meme (image 1 and image 2), it’s visuals simplified to the point in which of a beloved children’s tv show, the absurdity of superhero movies and a critique of the villainization of mentally ill people can be referenced through three lines of colour on top of each other (image III). Image 1 Image 2 Image 3 This new media speaks to a specific audience, which relies on shared cultural knowledge and social norms to establish their own limits in humour (Gamper & Cabré, 2024). Who can say what, who can laugh at what and how much is too much will change depending on the target audience (Gamper, 2024). Understanding what Gen Z will laugh at is crucial if a creator aims to use comedy as a narrative device and, as will be discussed in chapter 3, the Shrek franchise achieves this with proved success. One of the most significant changes to the media industry in recent years has been the inclusion of women into the creative process. During the late 20th century, more and more women join the workforce. They started to be present in the executive offices, technical teams, became animators and producers yet, for some reason, plots and storylines on billboards still reflected a distinctive masculine perspective. The third wave of feminism focused on the idea that women could do the same things men could, and did not stop to ask whether women would want to do it. Representation of female characters focused on strong and independent women, who did not need to be pretty to be loved and could karate kick the villain in the face. Still, they did not have friends or interests outside of what their male counterpart seemed to like. Their own developmental plotlines and character arcs? Unthinkable. For this reason, even if there were female characters, women did not feel represented in these films. Even if they would place themselves in the shoes of the main characters, they could not relate to their actions and thought processes. Once the theoretical background has been established, it can be used to explore the source films and see how the application of these concepts is present within the texts. Throughout chapters II to IV the role of collective trauma in founding the values of new generations, and thus the media aimed at them will be explored through the lenses of its community building values, differentiated humour and character development.   Chapter II: Once upon a time: The return of the fairy tale. 2.1 Context The previous chapter explored how the experience of the Covid-19 pandemic affected the general public and created a resurgence in their need to feel connected to the world around them. In section I.2 Community through tradition. this essay explore the renewed interest in folk knowledge, pagan mythology and traditional fairy tales. For the creative team of the Shrek franchise, these themes were nothing new. Their problem was that they had to make a film that would uphold the visual clichés and plot devices they had spent the last two decades ridiculing while still maintaining the essence of a Shrek film. They had to balance following a recognisable traditional style of storytelling with a completely new cultural context. The way in which they managed to do so has been by upholding and using the elements of fairy tales that their Gen Z target demographic finds appealing; while exploring through subtext and subplots the underlying phenomena that have caused this interest. This chapter aims to describe how the latest Puss in Boots film has used traditional storytelling devices to present a deeper subtext; which reflects the real emotional state and world view of their target demographic. 2.2 The plot. As explored before (see 1.1 Collective Trauma and the Covid -19 Pandemic.) Puss in Boots II target demographic has been defined by community shattering consequences of the Covid-19 Pandemic. Their youth and social development was interrupted by social isolation and the persistent threat of death. Death felt closer than ever at a global scale, and people seem to have formed an almost personal relationship with it (Testoni et al., 2021). This personal relationship with death is directly represented in the film Puss in Boots: The last wish through the character of Wolf; who is, literally, Death. The film follows Puss in Boots as he comes to terms with the fact he is living his last life. Death is following him, hunting him, aiming to settle his personal vendetta against the cat by his own hand. Puss is obsessed, he sees the wolf everywhere and lives with the constant anxiety of having to face him again. This fear is Puss’ driving force as he tries to reach for the wishing star to ask for more lives. And thus the plot develops as he is too focused on avoiding death to notice everything else happening around him. This is a mirror image of the thought process that most people fall into when confronted with death to such an extent. As anthropologist Ernest Becker puts it “[Man’s] fear of being overwhelmed (…) gives his life a quality of drivenness, of underlying desperation, an obsession with the meaning of it and with his own significance as a creature” – (Becker, 1975 as in Hirschberger, 2018). In this plot, the viewers have been able to see their own trauma play out. They can see their own lives, their mistakes and struggles through a not always flattering light. This could be a potentially dangerous experience for many people; yet, the environment in which it plays out keeps the viewer in a safe space. In the end, it’s a fairy tale, there has to be a happy ending. Through the formal elements of the film, very similar in structure to those of the familiar fairy tales, the film connects with the audience’s need for transcendence. Elements such as the structure of the plot, act as a reminder of the meaning the audience is seeking, by representing predictability and safety, and reminding the audience of the children they once were and of the intergenerational community they seek to build. What is interesting about these elements is their parodic counterparts that were present in the earlier films of the franchise; which are a clear reflection of the change of attitude towards the fantastical backdrop. These elements show up in the film as early as the introduction. In the first film, the story is introduced through a fairy tale book with gothic style lettering and drawings (image 4), as an off screen voice narrates the prologue. This style is reminiscence of the original introductions of classic Disney films such as Sleeping Beauty (image 5). Image 4 Image 5 These scenes are meant to set up the story as an old tradition, both through its visual style and in the tradition it replicates. Opening the book, moving the pages and using an older man’s voice, the audience would identify these scenes with the familiar ritual of a bed time story. Although in the Disney films these rituals set the mood to tell a thousand times repeated story, the Shrek films quickly rip this fantasy by having the main character’s hand literally rip the pages of the fairy book (image 6). Image 6 This simile between the classic Disney films and the beginning of the Shrek franchise represents the parodic nature of the film, its rupture with tradition and indicate that this film intends on destroy our notion of a fairy tale. This type of introduction is repeated in three out of the four subsequent films of the main franchise. In contrast, Puss in Boots: The Last Wish forgoes the concept of the book, but nevertheless, it upholds the folk tale in a way that its predecessors do not. Visually, the film is introduced with the literal text “This is a fairy tale…”. And so it starts with the story of a wishing star a symbolism of childlike hope that is common throughout other popular fairy tale based films like Disney’s Pinocchio (1940) and The Princess and the Frog (2009). Narrated by Puss himself, he introduces the film by making a wish in a soft slow voice and continues with the ever so famous words “Once upon a time”. Through repeated mentions to the night and stars, the film truly embraces the concept of a bedtime story. Comparing both styles of introduction – the earlier Shrek films and Puss in Boots – There is a clear distinction on the tone they aim to set for the film. The original saga introduces a disruption of tradition, a parody of these cultural rituals and poke fun at the sweet innocence of childhood. On the other hand, Puss in Boots aims at connecting to the image of a father, telling their child a story before putting them to bed; a form of ritual engrained in western culture which is meant to encourage the emotional connection between parents and children and the sense of community that comes through familiar relations. This introduction would set off a very specific emotional background for its target audience, placing them in a vulnerable but receptive mind-set that allows them to suspense their disbelieve through the eyes of a child, rather than encourage them to question the absurdity of the film’s setting. This idea of telling a bed time story exists within the most basic element of the film, it’s structure. Like most traditional stories, the movie follows what is known as the rule of threes. There are three little pigs, Snow White suffers three murder attempts and Dora visits three places in every episode. Even structurally, stories are divided into three parts: beginning, middle and end. The film’s beginning has already been discussed, while the middle itself is also divided into three parts following the three stops in the map to the wishing star. Within this structure there are complementary elements that serve both to reinforce this film as a fairy tale, while also attempting to surpass the confinements of the genre. Through the rest of the film, the plot dives into more mature topic than traditional folklore or even the Shrek franchise dares to touch on. Puss in boots has been distinctively influenced by media tropes that didn’t really exist in the early 2000s, particularly 2010s interest of in depth character explorations. Unlike the original saga where most characters were supplemental to Shrek and his struggles, Puss acknowledges the struggles of each one of the characters as individuals. Even when the main plot is focused on Puss, the audience gets a glimpse into the needs and desires of most secondary characters while their individual drive is the core conflict in the story line. Departing from Fairy tale tradition, the film presents mostly rounded characters, using classic plot devices to maintain a balance between developing these characters as individuals’ while finding cohesive points in the stories that would bring them to one another. The purpose of the map as a narrative device is centred around combining both these perspectives, serving as a familiar element in any children’s story as a treasure map would be, while also being used to reveal the inner struggles of each of the characters. The magic of wishing star seems to be able to read the desires of those within the dark forest, along with their need for self-development. When Puss and Kitty touch the map, it shows them individual trails that help the audience learn about their fears. Puss’ journey includes the Valley of Incineration the Undertaker Ridge and the Cave of Lost Souls, locations themed after his struggle with death and lack of self-knowledge. Similarly, Kitty’s trail runs through similarly depressive stops, themed after her fear of loneliness and her wish to find someone she can trust. Perrito’s path is centred on relaxation, as to show that he is not there for the whish. And lastly, Goldie’s does not show a true path, since the Star considers she already has what she wants, and instead it focuses on making her spend time with her family in the Forest of Nostalgia, quite literally a trip down memory lane. This alternative approach to the hero’s journey is specifically crafted to each of the characters who come in contact with them map, singling them as individuals and helping the audience identify with them and see them as fully formed people. Even the Star is given an independent identity with a clear value system. It gives advice to the characters and pushes them to improve themselves in ways it considers necessary, moreover, it holds a clear regard for team effort as it uses its manipulation of the dark forest to encourage Puss and Kitty to take the easy way with Perrito, along with making Goldie reflect on the real loving family she already has. This sets the characters in groups in which interpersonal relationships will develop, where Puss and Kitty have to have a conversation about their failed wedding and where the bears will show Goldie her importance within their family. The ending, brings back the story to its beginning, recouping the sense of bed time story that may have gotten lost in darker parts of the development. It has a happy ending in which all character groups meet to fight over the same object, but it develops into trying to keep each other safe even when it costs them their individual wishes. By the end, Goldie has embraced her family, Puss and Kitty have reconciled, Perrito has a name and Big “Jack”, the embodiment of selfishness and individuality is gone. Even when the audience is acutely reminded that no happy ending is permanent, since they’ll meet death again, the defeat of a secondary villain that the audience is more familiar with makes the story feel concluded. By the end, the protagonists sail away under the sun set, taking the audience to meet old friends in Far Far Away, a place they are familiar with from previous films. 2.3 The characters Throughout the film, these comforting child-like elements are contrasted to mature themes - the loss of identity, mental health disorders, fear of death … - with each possible distressful element having a comfort counterpart which re-stablishes the sense of safety. For example, on one hand the audience is presented with Death, a real life villain which they cannot defeat nor hate, since he is not really doing anything wrong. This character is the purest form of uncertainty, rooted in the most elemental fears of humankind. Yet, they are also presented with “Big” Jack Horner. An irredeemable oligarch, selfish and childish. He is easy to hate and defeated in the end, bringing a sense of closure to a film and a distraction from its hardest themes. He is the main source of comedy and carries on the parodic expectations of any Shrek related film. He resembles in means and goals to other villains from the saga - Lord Farquaad or Prince Charming. In this way he carries a sense of safety in three levels. One, he represents the unrealistic simple story that is a fairy tale. Two, he carries on the parody base humour of the Shrek franchise, which acts as a comedic relieve. And three, it reminds the audience of previous forms of media they, presumably, were familiar with and had liked before. “Big” Jack is key to the film, playing as the counterpart to what would otherwise be a genuinely scary story. Both conceptually and formally, Death is terrifying, and the film uses all sort of tools to maintain this presentation of the character. His characterization is based on a well-known trope the audience is familiar with the Big Bad Wolf. He is villain of popular folk stories like Little Red Riding Hood or The Three Little Pigs and everyone know how this is going to end, the hero will win, the wolf will be defeated and everyone will live happily ever after. Except, that this time, no one can escape from death. There is no happily ever after because the Wolf will be back and this time, and in this story the hero doesn’t have a fighting chance, with the film going as far as to explicitly state so. This time, by subverting the expectations of what makes a fairy tale, previously established knowledge becomes a tool for discomfort rather than safety. The lack of consistency between what the audience is familiar with and what actually happens in the story introduces a tension based on the unexpected, one of the fundamental tools of horror storytelling (Carroll, 1990). His characterization is constructed to promote this fear. Visually, not only is he a wolf, but he is dressed with a hooded black poncho along with having two scythes as his weapons of choice. His fur is primarily white with light grey, resembling a skeleton (image 7). These elements establish a visual parallel between the character and the popular image of the Grim Reaper (image 8) the western personification of death who is most often presented as a hooded skeleton who “harvests” the souls of mortals. Image 7 Image 8 The parallels between these two images establish the tone for the character and set the spectators to be anxious when this character is on screen, even before Wolf’s identity is revealed. He is always accompanied by a whistled tune, reminiscent of child-based horror films like The Orphanage. Even when the tunes is completely original, there has been online discussions as to where it could come from. In an interview with a redditor, the director mentions that composer Heitor Pereira took inspiration from spaghetti western movies to create the whistle sound (R/schaffrillas, 2023). In that same post, multiple comments mention the tune’s resemblance to a popular children’s song from the US “One Little, Two Little, Three Little Indians” (u/LegitimateMonk6878, 2023) with which the whistle shares a similar chord progression (Pereira, 2023) (Winner, 1898). Regardless of the true source material, the online discourse around the music names the feelings the tune caused in the audience. Most redditors agreed that the tune sounded familiar and were able to identify multiple sources of media that share formal traits with the song. The audience was familiar with the tune even before they had actually heard it and it carried a combination of meaning derived from the multiple sources where said audience was able to recall it from. The mixture between adult media such as horror films and the children’s music - increased by the spaghetti western inspiration - enhances the tension that the character already carries visually and works as a subversion of the once comforting nursery rhyme, perverting its meaning and transforming them into an agent of fear and uncertainty. Just as death, this tune is ever present throughout the film and hunts the main character, even at the end, when the conflict is resolved and Puss has learned to appreciate life, Wolf still leaves the scene with a whistle, reinforcing the idea that there is no way to defeat him or, even worse, that he can come unexpectedly. The balance between these two characters is a key component for the film’s success since it is an example of a larger counter balance technique creators have used to be able to discuss emotionally heavy topics while maintaining the essence of a children’s story and find connection to its target audience. In this way, the film feels like a healing piece of media that pays homage to elements of storytelling that transcend individual lives and build from and towards the structural stories that shape our society, giving the audience a sense of transcendence that helps them make sense of their individual struggles, much like the characters do as they cross the dark forest. Other examples of this balancing act include the plot, which is structured in thirds as most stories are, but which presents the characters in unique ways that challenge the audience perception of what a fairy tale is like. The film also conveys this transcendence by pulling from previously stablished pieces of visual media, such as playing with different musical styles to create the death tune and referencing the way previous films from this saga started, while distancing itself from its parodic elements. Chapter III. What is means to be a Macho Cat. 3.1 The context. The rise of mental health problems – or the awareness of them – as a consequence of the pandemic, has sparked a new interest in learning about them. This is especially amongst generation Z having it become one of its defining characteristics. This generation does not only fantasise about it and tell their friends “it’s ok to go to therapy”. They are actively seeking mental health services themselves. They seek this help from many sources, including the media they consume, which has caused a trend of growing films which focus on topics relating to psychological wellbeing and how it can be implemented into their day-to-day life. Films like Barbie – which focuses on finding our individual humanity– and animated films like Soul – which talks about finding your own enjoyment in life – have opened the doors for discussions around life and the self that feel more relatable and applicable than those of previous decades. And Puss in Boots: The Last Wish has an exemplary execution on this topic. By centring the discussion around the fear of death, it also opens the door to talk about the meaning of life, self-perception and identity. These topics are not only more present than in previous releases from the franchise, but they are also approached in a much different way, leaning towards promoting values such as introspection and affective responsibility by changing the dynamics between character archetypes that had been stablished from the earliest examples of storytelling such as the hero, the love interest or the villain. As a result, the characters and their depictions are more aligned with younger generations values and identities and present perspectives of minorities who may have been dismissed by earlier creators. 3.2 Puss around and find out. The consequences of his actions. Personal responsibility and accountability are key values of Generation Z, presenting personal enhancement as a higher moral value than any other generation after the pandemic (Tirocchi, 2024). In the pandemic, a time when social isolation was a common occurrence, the safety of the group was dependent on the individual actions. If one person did not follow the individual guidelines it would endanger their who environment, either at home or at work. This premise set the ground for an increase personal accountability and social criticism of those who were not willing to make sacrifices - like wearing masks or self-isolating – and held the general population to a moral standard that just didn’t exist before. In the end, having a relative die because one wanted to go to a party, is a very impactful way to learn that personal actions have collective consequences. The themes of personal consequences present in the film, resonated greatly with the young adult population, especially when presented through the active critical voice of Death, that gen Z saw ever present in their day to day lives. In this film, even when the plot seems to be about death, it truly speaks about the meaning of life. What moves Death as a character is his hatred of Puss, for how little he appreciates his life. His deaths are stupid and senseless, based on preserving the idea of the fearless hero he has based his self-image, but he does not care whether he, as an individual, is fine or happy. Death hates it, and so does Puss’ ex romantic partner, Kitty Soft Paws. Although it seems like a standard plot line of regret and shame, there are not many movies that force the protagonist to hear about the consequences of his actions and who face active consequences from the plot or the characters around them. Throughout the film, Puss is forced to confront the ideas he had of his role in society, being forced to look beyond the carefree facade and finding a completely empty existence and in that confrontation, he finds guilt. There are two plot points that turn Puss’ perception of life, each after a direct face off with Death. while the second one forces him to face the consequences of his behaviour. The first one, after the scene in the tavern, leads Puss to start to care for his physical integrity. It shows that he actually is scared of dying, but the life he chooses after the face off doesn’t mean he is living either. He becomes a lap cat for Mama Luna, spending his days eating, peeing and sleeping. While he may have giving up his façade of a strong and brave cat, he is still maintaining the emotional barriers that make him unable to connect with the other cats in the house. He does not care to learn their names, communicate with them or find a way to entertain himself while there. He is living day to day with no purpose or enjoyment. His fear of death is still present, confusing the Bear family with Wolf. His self-image is still very low as he yearns to reconnect with the heroic part of himself that gave him purpose before and that has been hidden under his disguise as a lap kitten. The first chance he gets, he forgets once again about trying to stay alive and goes on another adventure risking his physical integrity again. The second plot point happens in the cave of lost souls, when the representations of his past lives – his past souls if you will – present to him in the 8 times he had died over. This is the truly transformable moment, when Puss changes the spirit of his goal. When confronted with his bad decisions, he sees his own selfish attitudes reflecting back at him. He feels guilt and shame for the first time and in facing Death himself, he faces the consequences of his actions. He is explicitly told how he is ruining his own life and that of the people who love him, he’s show the pain he has caused himself by pursuing a lonely life of adventures and the mistakes of his past lives as he runs from the church where he was meant to marry Kitty. In reflecting how he wants his live to be, he finds a new reason to reach the star and make his wish, trying to get himself more time to be with Kitty and Perrito. And in doing so, he runs away with the map, betraying his friends. At this point, even when Puss has realised how important people are to him, he does not bother to put himself in their shoes, putting his own perception of how things should be – living long lives together – rather than taking into account the desires and commitments they had made to each other – reaching the star together. At last, Puss’ true point of change comes as an active action to do better, to keep fighting for this life. Literally backed by his support network (Image 9), Puss acknowledges that there is a point to living now that he has learned to care for his and his loved one’s emotional well-being. He is aware that by wishing for more lives, he would be choosing his old ways, maintaining his persona of a fearless hero that prevents him from appreciating the moments of life that give it meaning. At the same time, allowing Wolf to win, would literally mean giving up on life and the family he has formed with Perrito and Kitty, hurting them and diminishing his own self-worth. It is only after proving to Wolf that he has understood the meaning of life and taken real action to be better that his anxiety lets him be, with a promise of coming back when it is really time. Puss acknowledges Death as inevitable and understand their truce as a chance to enjoy life for as long as he can. Image 9 The context in which Gen Z came to be, growing up alongside social media and digital communications, normalized relying on an online community for support. Opening up their traumas for the whole of the internet to see. While this practice can be dangerous and put both creators and audiences in uncomfortable situations, it is also true that it has had a significant impact on the way people discuss their mental health. The openness to discuss one’s struggles have made it so it is socially acceptable to seek help and rely on others for support. In contrast, research shows that a prominent taboo around mental health is still significantly present in their parent generation, Gen X (Baral et al., 2022). The explicit way in which Puss is forced to improve himself is a plot that deeply appeals to Gen Z who hold accountability and affective responsibility as a primary value. Being aware of the pain one causes and aiming to do better. Learning to lean on others when help is needed and seek a professional if needs be. Forgiving oneself without denying the mistakes are traits that Gen Z sees positively that had not been presented before in the saga. Through hard work in dog-lead therapy, he starts to consider himself worthy of care and affection, and stops pushing away those who want to give it to him, including those hidden parts of himself that do not laugh at the face of death. 3.3 Who is your favourite fearless hero? This lesson became especially relevant in the wake of the fourth and current wave of feminism which has as one of its most prominent points the deconstruction of gender – sex based social expectations – especially the essence of masculinity and the damage it causes in men and their environment (1.2. Community through society.). In feminist thought, gender is constructed as a binary with those assigned female at birth raised to think as a collective, while those born male were taught to focus on their development as individuals. In her book In a Different Voice (1982) psychologist Carol Gilligan analyses this idea and remarks the way men are raised to uphold abstract concepts like liberty or justice while separating them from the social networks under which these concepts live. They are taught to perform these values in acts of heroism while distancing themselves from any emotional involvement in the situation which has led to a sense of moral superiority over women that they cannot uphold when it comes to the reality of the consequences of their performance. As Gilligan puts it “By disconnecting moral judgment from the feelings of empathy and compassion, the conception of morality as fairness may estrange men from the personal responsibility to care.” Performing these acts of “rational morality” protects them from any criticism grounded on the emotional negative consequences of their actions and thus they feel entitled to act with impunity. This perspective connects to Dr Frisks’ ideas in the way society and media have constructed heroic actions, situations and structures that legitimize men’s actions and behaviours. The question then becomes. What happens when the most heroic thing one can do is nothing? The collective nature of the pandemic, even the actions are required at an individual level, renders obsolete the previously considered heroic actions – such as going to work while sick or helping out a stranger. Combined with the unavoidably emotional situation filled with fear and sadness, the monopoly of the moral high ground was removed from men and thus they were also subject to scrutiny. The Covid-19 pandemic aid the feminist movement in their push towards men’s personal accountability in the way that it challenged the notion that to be a man is to take action, be a hero and save the day. In world of quarantines and social bubbles, the most heroic action was to do nothing. There was no performance and no creation of a uniquely qualified saviour in the way Dr Frisks defines heroic masculinities, but rather a collective effort of individual sacrifices that emphasize the importance of caring for each other as a collective. This new outlook of what a heroic action may look like has become increasingly prominent in media, with films like Barbie (2023) and TV shows like Bridgeton (2020 - ) presenting the traditional heroes as men with an overinflated idea of their own importance, turning instead to collective action and personal accountability as a tool to resolve their plots. The Last Wish follows this trend by presenting Puss as a flawed character, selfish and fake; who has created a personality as a way to protect himself. In a similar way to other movies about broken heroes, Puss is shown as a broken man who uses his boots and sword as the costume of the hero that hides his internal fears. The staggering difference is that in this film, the audience does not only see the pain Puss suffers, but also the pain he causes. Even when Puss’ struggles are relatable, real and painful, the movie does not shy from showing how his pain hurts others, specially Kitty, who is deeply traumatized by Puss’ lack of commitment and was almost left at the altar. Puss was afraid of losing his essence as a strong masculine and fearless hero if he were to settle down like he promised. His performative actions of love and heroism, like saving kitty from a fall, stay performative, the moment he puts his emotional safety over the promises he had made to her and hurt her in the process. From a feminist perspective, Puss’ problem stems from the toxic Macho perception he has of himself. At the beginning of the film, he believes that his status as a legend should prevail before all, even before his real self. Because of this idea of self-reliance, he struggles to maintain genuine connections, putting “the legend” not only before his own wellbeing but also the well-being of those who he is emotionally entangled with. The film analyses the role of the hero and its importance in society, presenting its roots as a need for transcendence while also making the point that the legend will die, and community is the only thing that will be left behind. One could argue that the original saga already makes this point, since its plot describes an alternative fairy tale in which the Ogre is the hero and Prince Charming is the villain. In fact, this flip of the original script is one of the reasons Shrek became so popular and it opened the door for conversations about social issues such as the importance of fighting stereotypes and the damage self-inflicted isolation can cause. Shrek is similar to Puss in many ways, he has built an image of himself as a scary creature to protect himself by justifying his loneliness, in a way so he doesn’t have to self-reflect on the internal struggles that make him hard to be around. Shrek is selfish and cruel, the only reason he agrees to save Fiona is to get the magic creatures out of his swamp – never mind the genocide they were victims of – and he is cruel to Donkey even after their friendship is stablish. Very significant is the way the whole plot is shaped around him, ignoring any of the pain other characters may be suffering if it does not complement Shrek’s. In the third film, Shrek leaves a pregnant Fiona to go on a trip to find someone who can take over the kingdom she has inherited from her recently deceased father because he does not like the job that comes with it. The film does not ask or wonder what Fiona is feeling in regards to her father’s death, any struggles with ruling she may have or any of her fears as a new mother. In contrast, in the latest film, even when the central point is Puss’ struggle, Kitty is not left behind, she is also flawed and the film does not shy away from pointing out that part of this is Puss’ fault. Kitty’s journey to the Star was shaped by her fear of loneliness and her wish to find someone she can trust, which is reinforced when Puss runs away from her, again, taking the map with him. The difference in the way the main character’s flaws are shown relies on the existence of an environment around them and presenting the real damage protecting one’s self-image can do to those around them. When confronted about his actions Shrek uses the “I’m an ogre” line as an excuse, expecting others to adapt to his inherent nature, but attributing one’s faults to their spices’ identity does not fly for Puss. Death does not take kindly to cats who waste lives in meaningless acts of heroism or show offs of masculinity and it is not until Puss lets down his guard and becomes an active presence in his relationships does he begin to truly live his last life. Throughout the Shrek Franchise, Puss had come to represent the highest values of the most noble fairy tale hero. He would be fearless, charming and highly individualistic. With the social change brought upon by the Covid-19 pandemic, those values lost its cultural importance and where replaced by a collective approach to cultural relations. The sudden change left those people who lived through those values, primarily men, in a vulnerable passion where they would have to find a new sense of identity. The film presents this struggle in a unique way, by showing the painful consequences maintaining a heroic façade has, not only on the individual but on those around them. Through his encounters with Death, Puss goes through the stages of healing the younger generation is carrying: confronting guilt, letting go of ego, and embracing the vulnerability of community. His final transformation is not into a greater hero, but into a more grounded, emotionally responsible being.   Chapter IV: Sheeps and giggles. 4.1 Context Since 2001, the Shrek franchise has delivered more than just flatulence jokes—it’s been a mirror for generational values, evolving comedic sensibilities, and the strange cultural stew of post-2000s media. As an animated comedy, it follows the tradition of other culture shifting animated comedies such as The Simpsons (1989 -) or South Park (1997-). This genre has been characterized for using really dark humour with virtually no limits, primarily based on social and political critique throughout the whole ideological spectrum. Nevertheless, the generational change has carried with it a change in values and means of communication, shaped mainly by social media. Due to the isolation period of the pandemic, the digital network was the only way the younger generation could connect with people outside of their family circle and create the social ties within their peer group that characterize development in young adulthood and teenage (pg. 16). During this time and for the consecutive years, Gen Z developed their generational language through social media, and used it to create the community they could not have had in person (Jayatissa, 2023). This langue is present in both online and in person interactions and exists in all styles of messages including comedy. For this reason, when The Last Wish creators aimed to appeal to their young adult – currently Gen Z – demographic, they had to do so understanding what is funny, how it is so and where they set their limits of humour. 4.2 Viral humour. As a descendent of the animated comedy genre, Shrek uses the clash between tradition through the fairy tale parody and the modern era to highlight the absurd of both worlds. Its first films it covers topics such as police brutality, genocide and reality TV from a comedic perspective that aims to ridicule the power structures that have shaped them. For example, in the case of the Shrek franchise, the villains are portrayed as stupid, selfish and easily disregarded. They are socially powerful men that the viewers and filmmakers find comfort in ridiculing, usually through visual gags or by mocking their vanity. They present a pyramidal social structure with defined positions that establish the dynamics between those at the top and those at the bottom. There is a belief that those at the top will abuse those at the bottom and that there is nothing they can do to change that structure, and any active action will just reinforce their own oppression (Magee & Galinsky, 2008). For this reason, some people believe it is more energy efficient to use media to make fun of the people socially above them so at least they can get a good laugh at them and in a way, pay back the abuse they are receiving. This critique is consistent all through the franchise, including The Last Wish with absurd villains with ridiculed “traumatic” pasts that the main character, whether it is Puss or Shrek, cannot take seriously. The only recognisable difference between the earlier films and this one is the change in the social positon of the absurd villain, as in the original films they held noble titles – Lord Farquaad, Prince charming – while in the spin off “Big “Jack Horner is an egotistical oligarch who has bought his position through economic exploitation rather than birth; signalling the switch in the top of the power hierarchy from the traditional social elites to the great fortunes. Parody is the core of the Shrek franchise humour and even when Puss aims at embracing its narrative origins, it still uses the dramatized style of folk tales for comedic effect. An example of this is the way the locations through the dark forest have been named. As mentioned in section 2.2, the paths to the wishing star are catered to the lives of the characters that touch the map and the stops along the way are constructed around their fears or accomplishments. The names given to the parts of each journey follow the structure The ___ of ___ following the naming tradition of fantastic tales like “The Cave of Wonders” in Aladdin or “The House of Black and White” in Game of Thrones. The names of the locations in The Last Wish have a comedic effect in two levels, for one, it references the dramatic naming conventions common in its parodic genre, but also plays with Gen Z comedic style by being a reference to the fears of its characters. Naming a place “The Cave of Lost Souls” when the audience has been made aware of Puss’ paralyzing fear of death has the sense of deprecating humour by making it obvious that it is going to be an especially difficult journey. Accompanying this premise with a funny reaction on Puss’ part (Image 10) who is outraged at being called out like that adds a visual element that indicates to the audience that it is ok to laugh at Puss’ misfortune. Complementing this sequence is the naming of Perrito’s path. When Puss’ and Kitty’s are ridiculously terrifying, Perrito’s stops are ridiculously adorable like The Field of Quick and Easy solutions. The sudden change from the terrifying adventure of the cats to a nice day out for the dog create a sense of absurdity in the audience who will laugh both at their misfortune and the incredulous expressions of the characters (Image 11). Image 10 Image 11 It is through Perrito that Gen Z humour truly shines. As explored in section 1.4, the digital sphere has fostered a sense of community based on shared traumatic experiences, usually communicated through short form video content or image memes (Flecha Ortiz et al., 2020). Academics have described this form of comedy as absurdist, nihilist and nonsensical, and Perrito truly embraces this concept. When he is first introduced to Kitty, he shares his life story through a narration that can only be described as a trauma dump – a one sided retelling of one’s traumatic experiences. He talks about his family abandonment and attempted murder as he laughs naively and mentions the nice sweater he made out of the sock they tried to drown him in. The contrast between his positive outlook towards the experience and the concerned reaction of the cats creates an uncomfortable ambiance that becomes comedic from pure absurd. At the audience is at the same time aware of the parallels Perrito’s story has with that of Kitty and Puss, also abandoned and mistreated in their youth. This situation repeats itself when the dog is captured by The Three Bears and mentions all the insults he has received in his life time, shocking Baby and making the audience laugh as half his words are biped out while leaving plenty in to be recognisable for the older audience. The key to this character’s humour and the reason why his trauma is allowed to be laughed at, unlike that of Puss, is his willing attitude to share it. Perrito shares his experience in absurd moments but it contextually fits. In the first instance, he is asked by Kitty and in the second one, he is participating in the name calling the family was having with each other. Perrito has accepted his past experience as part of his life journey, and he has healed from them as his map path shows, while Puss pain is present and active. In Gen Z language, through his open sharing of experiences, Perrito has given the audience consent to laugh with him while Puss’ is still struggling to understand his trauma and its effects, and thus the audience understands that his pain is to be treated with respect and seriousness. The comparison between these two character’s approach to their past marks a very important point in Gen Z, and that is the established limits. 4.3 The Limits of humour. As discussed in the previous section, in pre-pandemic media there was a style of humour based on the idea of laughing at what you can’t avoid, which also applied to other more grandiose topics. Things like the passage of time, love, human interconnectedness and death were all approached in a humorous way, whether or not they would later on be discussed with more depth. This approach gave the creators and their audience a sense of control over experiences they can’t change or make humorous in their real lives. The original film presents this perspective trough a visual gag which shows in progression what would be the death of Mama Bear. The joke takes the characters from the popular fairy tale Goldilocks and The Three Bears and presents them as any other magical character being targeted by Lord Farquaad’s hatred of fairy tale creatures. We first see them together being sold to the guards (Image 12). Then we see Baby Bear and Papa Bear in the refugee camp by Shrek’s swamp but Mama Bear is nowhere to be seen (Image 13). The audience doesn’t catch up with her until the scene in Lord Farqaad’s room when she is shown to have been transformed into a rug (Image 14). Despite what out of context seems like a tragic story, these three scenes are preceded and followed by comical moments like Pinocchio claiming to be a real boy and Donkey scamming his owner; the witches parking their brooms using airport guides followed by Shrek shouting at everyone; and Farquaad and Fiona’s matching crowns followed by the utter annoyance of the face in the mirror. Image 12 Image 13 Image 14 What is interesting about this death specifically is the way the characters show up again in The Last Wish, with a much prominent role. While the previous movie had transformed Mama Bear rug in a popular meme and an Easter Egg for the fans to watch out for. Instead, the las wish revives the character, giving her a full personality and a social network but maintaining her colour scheme brown and pink. Filmmakers could have used any other fairy tale with “found family” trope– like snow white or Thumbelina – and conveyed the same themes but by using this character that had been ridiculed in a past death, they change they mark a change in the comedic style of the franchise. This re-characterization points at a new approach to death from the filmmakers and by extension of the general public. Death takes a frontal role in The Last Wish and it is not given any sort of comedic instance, keeping the character at a safe distance from the audience through the serious tone. The use of humour to distinguish the importance of villains establishes a level system of “rightful fears” on top of which is Death. One can poke fun at absurdly constructed social structures, one can even argue that ridiculing those on top of theses hierarchies are a form of rebellion, but as the plot of the latest film argues, there is no point in rebelling against Death. This villain supersedes any other in the saga, even those within the same film, and sets the movie a part from its predecessors by setting a hard limit on what one can laugh about. This limit is directly set in the film. At the beginning, and before actually coming to contact with Death, Puss would repeat the mantra “I laugh in the face of death”. When he is actually faced with Death, he does not laugh, and neither does the public. Creators and the audience had been laughing at the visual gags of Mama Bear as a rug in the original Shrek and Farquaads “some of you may die, but that’s a sacrifice I’m willing to make” for years without giving it a second thought. When it came to actually facing death at a global scale no one was laughing, and now barely anyone is talking about it. Collective trauma theory describes a period of time after the event in which the public is not capable of articulating their experiences and emotions regarding their trauma. This silence is a response to the pain suffered, and can take generations to break (Caruth, 1991). Ever since the daily death roll stopped being news worthy, there has been very little mention of the virus in any form of media, whether fiction or real stories. The hard hitting feelings of fear and guilt that flood this film, as a reflection of the current social taboos are treated with the respect they are shown in real life and when present it is under the same conditions as a member of Gen Z would express them, from personal experience, honest and with an understanding that it is done as a coping mechanism. The limits on humour are a consequence of the values that Gen Z hold as core to their identity; as such, they have also set limits on the way mental health is represented. The film pokes fun at the cheesiness of Perrito’s path through the dark forest, all they have to do is smell the flowers and relax in river, but when it comes to the reality of struggling with mental illness, the film does not shy from the ugliness. The film pokes fun at the visual signs of Puss struggle with his masculinity. There are jokes about his “lack of sword” and about his very ugly beard, but his panic attack is never undermined or humoured. The visuals that accompany the situation are dark and chaotic and he only escapes the situation though a long calming down and trauma processing process lead by a “professional”. Puss’ existential crisis is not unique in the franchise. Shrek himself goes through a similar experience multiple times, with one of its most prominent representations being a nightmare in Shrek 3. In this film Shrek finds out he is going to be a father, and is filled with the insecurities that come along with it. His uneasiness manifests in a nightmare in which his house is flooded with babies. Even when the main character is severely distressed from the situation, it is still used for comedy as the babies show up in unexpected places and Donkey acts as his usual clown self and he escapes the situation waking up with a loud scream. As a result of the expectations of its genre Shrek as an animated comedy franchise had explored social issues through humour, paying little attention to any moral limits, relying mainly on the combination of the absurd of its premise. The combination of parodies of modern life and that of traditional storytelling created an absurd backdrop that left the floor open to discuss issues from then that are still prevalent now, such as power dynamics and social hierarchy. With the rise of the new generation, new problems have taken priority in the mind of the general audience and due to the terrible consequences of those problems, such as death, social rules about the limits of humour have been established, changing the dynamic of the franchise that has had to adapt to boundaries and comedic style of the new generation, focused on self-deprecation and the digital culture, without abandoning the parodic tone that is intrinsic to the fairy tale context.

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