The Owl House: For The Future + Watching And Dreaming

And with this, it’s over. Maybe some day in the future when copyright and wage labor have been abolished, this show will be done justice with a fan-made continuation. For now, this is the end of the line.

Plot description for the show in general:

Accidentally sent to the world of the Boiling Isles before a trip to summer camp, a teenage human named Luz longs to become a witch and is aided by rebellious Eda and pint-sized demon King.

Runtime: 48 minutes + 55 minutes = 103 minutes.

Content warnings for The Owl House include:

• Implied child abuse and domestic violence
• Stand-in for alcohol
• Animal abuse, death of a pet
• Stalking
• Bugs, bees, spiders, and snakes
• Characters are drugged
• Potential sexual harassment
• A character’s mouth is covered
• Body horror, bodily transformation
• Children in peril
• Et cetera

You may wish to read a more comprehensive list of content warnings here:

• https://www.doesthedogdie.com/media/79293
• https://www.imdb.com/title/tt8050756/parentalguide/

The Owl House was made on Tongva land

The Owl House was animated at Disney Television Animation’s studio in Tovaangar, the unceded homeland of the Uto-Aztecan-speaking Tongva people. More specifically, the animation studio in question is located in Glendale, Los Angeles County, near the historical Tongva villages of Wiqanga, Tujunga, Hahamongna, Ashwaangna, and Maungna, between the Verdugo and Santa Monica mountains whose springs had long provided fresh water for the Tongva.

The streets of Los Angeles were built by the slave labor of Tongva people arrested by settler police for “vagrancy and public drunkenness” after Seppoland annexed Tovaangar without treaty. The Tongva people today are still unrecognized by the governments of California and Seppoland, while the California Natives who did sign treaties with Seppoland never had those treaties ratified. This lack of Indigenous treaties in California presents unique legal challenges for the state’s Natives compared to Natives elsewhere in Seppoland.

The economic prosperity of Los Angeles that allowed an animation industry to develop in the city necessarily has its basis in the continuous and systemic disposession of Tongva people from their land. The Tongva had no say in approving the construction of Disney’s animation studio and sees none of the profit generated by the cartoons drawn on their land. And although piracy avoids putting money directly into the pockets of settler capitalists, unpaid fan labor such as pirate uploading still contributes to the overall values of the intellectual properties in question, just as any other labor adds to the value of any other commodity.

Tongva people still exist and still live in Tovaangar today. The Tongva still fight, as they have for centuries, to exercise their sovereignty over their homeland and resources. The Tongva are not a monolith nor in any way static: they are stratified by class like any other nation under capitalism; they adapt new technologies to their needs like any other nation; and also like any other nation, they have individual members intersected by every axis of oppression and each with their own individual perspectives.

Here’s a relevant charity:

• https://www.tongva.land/

I would also recommend listening to “An Indigenous Perspective On The Chicano Movement”, as it is very relevant to the topic of Mexican colonization of the Southwest and its lingering impact on the settler-colonial contradiction in e.g. Tovaangar today.

SOLIDARITY WINS THE FREEDOM OF NATIONS!