WATCH: Teen's ‘nightmare' mid-flight performance
Brazilian content creator Romeu shared the now-viral clip on TikTok, capturing the teen's heartfelt performance of How Far I'll Go from Disney's Moana.
The girl is seen belting out the popular children's song into the plane's PA system, turning the cabin into a captive audience, whether they liked it or not.
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'When your Delta flight is delayed 2 hours and you circle Orlando for another 2, but then a little girl sings Moana on the crew mic and suddenly everything feels okay,' Romeu captioned the video.
While the TikTok creator loved the performance, others online are ready to activate airplane mode on the teenage girl.
'This is actually my worst nightmare and personal hell,' one user commented on the viral video.
'Imagine you finally get your baby asleep and this happens,' another unimpressed viewer said.
'She's a good singer ok, that I will admit, but NOBODY wants to hear a 12yr old singing Moana when all they're trying to do is get to where they need to go. It's not cute, it's not whimsical and joyous, it's just inconsiderate and embarrassing,' wrote another. The teenager was singing How Far I'll Go from the Disney animated film Moana. Credit: AAP
Some questioned the teen's parents for letting their daughter take centre-stage in the aisle.
One user wrote, 'No hate to the girl, but the PARENTS should know how to read a room. Not everything should be centred around your child. She isn't Moana, life isn't a Disney movie.'
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Except this deer, with his enormous antlers, lives in a woods being poisoned by men dumping green carcinogens in the water, the same men running over the buck and his mate with their trucks as they leave. We'll come back to that buck in a moment, but in Rhys Warrington's screenplay, we also have a young mum caring for her child. It is Xana (Roxanne McKee), mum to the bookish Benji (Tom Mulheron), who has just been let down once again by Benji's dad Simon (Alex Cooke), who had promised to take his son to a weekend with Simon's relatives in the country. Rather than disappointing her son, Xana packs Benji into a taxi and head off into the deep forrest home that grandmother Mary (Nicola Wright) lives in. It seems that Simon isn't the only disappointment in the family, as granny's home is full of Benji's awful relatives, like his obnoxious cousin Harrison (Joseph Greenwood) and Harrison's uncaring step-mother Harriet (Samira Mighty). But, as in all good fairy tales, the taxi ride to Granny's house is interrupted, not by a wolf, but by an enormous set of antlers smashing into the taxi head-on. The taxi driver is killed as the giant deer, feral with razor sharp teeth that drip blood, stomps the car's cabin, and Xana and Benji escape, running to Granny's house. But Granny has dementia and in her vague moments, seems to be psychically linked to the deer, and it turns out there's a strong family link to the beast and the reason it is haunting the woods and the humans, any humans, it sees as being destroyers. Dan Allen and Rhys Warrington's film is fun, if you like horror, but it's not the tongue-in-cheek horror that usually hits the multiplex cinemas. Bambi doesn't throw off witty one-liners as he despatches his prey, it is kill-and-move-on. The film's technical team is a small crew, the end credits were mercifully short, but they achieve good believable work with their CGI, keeping their scenes dark, only revealing the horror creatures when they need to. Perhaps the small tech crew and judicious withholding is the secret to good CGI, I thought as I recalled how many thousands of names were in the technical credits to the second Wonder Woman or The Flash movies, and remember how butchered and rushed those film's CGI looked. There's been an exciting trend in low-budget horror movies recently when iconic intellectual property, usually the ones associated with sweetness, hits that magic number where it enters into the public domain. Like the 2023 film Winnie the Pooh: Blood and Honey, where Christopher Robin has neglected his animal friends after leaving for college and so they go on a killing rampage. These twisted Winnie films - there's been a bunch of spin-offs and also-rans in the past two years - arrived on the scene just as AA Milne's original book, published in 1926, passed the 95-year mark required for the US public domain. The juggernaut that is Disney couldn't stop enterprising filmmakers jumping on this adaptation bandwagon when Steamboat Willie, the first on-screen appearance of Mickey Mouse, entered public domain in 2014, with recent horror films like Mickey's Slayhouse and Mouseboat Massacre hitting - well, they're not hitting cinemas, they're mostly appearing on horror streaming services like Shudder. Even my childhood favourite TV show characters The Banana Splits went on a malfunctioning animatronic killing spree in 2019's The Banana Splits Movie. Bambi: The Reckoning takes, yes, your sweet childhood memory, though for legal reasons, it draws from author Felix Salten's 1923 novel Bambi: A Life in the Woods, and not the Disney adaptation that they still very much hold all rights for. Director Dan Allen starts the film with a rustic animation that certainly nods towards the Disney drawings, showing over the title credits a young fawn losing his mother and growing up into a giant buck. Except this deer, with his enormous antlers, lives in a woods being poisoned by men dumping green carcinogens in the water, the same men running over the buck and his mate with their trucks as they leave. We'll come back to that buck in a moment, but in Rhys Warrington's screenplay, we also have a young mum caring for her child. 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But Granny has dementia and in her vague moments, seems to be psychically linked to the deer, and it turns out there's a strong family link to the beast and the reason it is haunting the woods and the humans, any humans, it sees as being destroyers. Dan Allen and Rhys Warrington's film is fun, if you like horror, but it's not the tongue-in-cheek horror that usually hits the multiplex cinemas. Bambi doesn't throw off witty one-liners as he despatches his prey, it is kill-and-move-on. The film's technical team is a small crew, the end credits were mercifully short, but they achieve good believable work with their CGI, keeping their scenes dark, only revealing the horror creatures when they need to. Perhaps the small tech crew and judicious withholding is the secret to good CGI, I thought as I recalled how many thousands of names were in the technical credits to the second Wonder Woman or The Flash movies, and remember how butchered and rushed those film's CGI looked.
Perth Now
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David Crosling Credit: News Corp Australia Today, the duo – made up of Jack Say, 28, and Isaac Gibbons, 29 – have amassed more than 3.3 million followers across Instagram, TikTok and Facebook. Having recently completed a live show tour around Australia, New Zealand and England, Say and Gibbons agreed with Ferrell's assessment that there was no substitute for honing a comedian's craft quite like performing in front of a crowd. However, they argued the nature of social media management meant nowadays comics needed to be a 'jack of all trades'. 'It was an amazing cutting of the teeth moment for us,' Say told NewsWire. 'We learned so much about live audiences, but it feels like now – you hear musicians talk about it as well – not only do you have to 'make the music', but you have to be the advertiser and you have to do all the social media stuff that comes along with it. 'It feels like you almost have to be a jack of all trades and to service each platform with what it requires in order to have a grip in the industry.' The boys just reached one million followers on Instagram alone. David Crosling Credit: News Corp Australia Continuing the aspiration of multi-platform mastery, the duo have cracked into the podcast space. It's a dangerous time to make the move. Internet commentators have complained the market is now so over-saturated that the sale of podcasting equipment ought to be restricted or banned. The boys, however, are finding the change of pace a welcome return to the ad lib comedy style of their younger years. 'Speaking for myself, I wasn't a huge podcast guy, so I guess I was always astounded by the amount of podcasts out there that have strong listenership,' Gibbons said. 'Obviously, it's a growing platform and there's people that listen to all kinds of content. And I think rather than talking other people down or focusing on how types of podcasts that don't deserve listeners, get listeners, maybe it's worth acknowledging that there's all kinds of listeners for different types of content and trying to tap into that, appreciate that everyone listens to different stuff and try to make something that can appeal to a lot of people.' Making content that is appealing to a wide spate of people is no easy task in the modern world and it's something that Say and Gibbons have made pains to improve on in recent years. 'We were talking about this earlier today actually. Something we've crystallised since the start of Swag and we're getting closer and closer to is being able to provide content that anyone can listen to,' Say said. Comedy legend Barry Humphries is among the boys' role models. Openart AI Credit: Supplied 'If you're 15 or 75, we would like to create stuff that anyone can enjoy, anyone can palate. 'While being fresh and interesting is kind of the goal for us, we don't want to exclude any group or person or people from our stuff. 'It's that classic line from when they wrote the Mr. Bean TV show. 'If a joke couldn't be understood by people in Egypt, then it didn't get in'. He's on the extreme level where he didn't even speak, but we're sort of taking a leaf out of that book, which is: Does this allow everyone who can hear and watch our stuff the chance to enjoy it? 'There's only so much you can do as two guys, but we feel like we're getting better at dividing our time and energy up into multiple parts of the industry, which feels like an essential thing.' It's difficult to put your finger on Australian comedy in the same way you can identify dry British humour or brazen American comedies, and the nature of social media skits as an emerging form of content means prospective filmers may lack the comic role models of other mediums. However the boys cast the net wide and believe the vagueness offers an opportunity to cherry pick and aspire to the best. 'We're big fans of Chris Lilly, everything done by Chris Lilly,' Gibbons said. Australian icon in Chris Lilley as Jonah Takalua. Supplied Credit: Supplied 'I love the character comedy and the way he can very convincingly play all different types of characters. Sacha Baron Cohen as well. 'I think the Godfather of Australian comedy, Barry Humphries, is of course iconic. Flight of the Concords is a duo who has a hilarious dynamic and incorporates music which we try to do as well.' '(American and British humour) both are incredible, but I suppose beyond personal preference of the comedy styles, as Australia does in many other ways, we sort of take little bits of longstanding cultures that we like and try and incorporate them into our own things,' Say added. 'Maybe there's a bit of that going on that is forming the Australian comedy style.' The duo has partnered with KitKat to release a line of Commuter Camouflage Hoodies and are celebrating reaching one million followers on Instagram by throwing a party at the Railway Hotel in Brunswick on Saturday, August 30, announcing a secret project they've 'been working on for months'.
