Tag Archives: Worst

Marge’s Outstanding Disney Achievement Awards

 

So, what’s the best and worst of Disney, you ask?

…You didn’t? Oh…

…Well, here you go anyway!

 

Overall Film Quality:

 

Worst of the Worst Award – Chicken Little

Chickenlittlesoundtrack

 

Disney’s first solo venture into the world of CG is, shockingly, their worst. Only Home on the Range comes close to the sheer miasma of badness that this stinker emits.

The plot is confused (do we focus on the aliens or the baseball?), the characters are one-note and/or unlikable (I would happily fry Buck Cluck up, KFC style); and the animation is somewhere between “meh” and hideous.

Take my advice. Just don’t. Also, put this down for Worst Humor Award and Worst Father Award too.

 

Most Artful AwardFantasia

 

It’s like going to an orchestra concert and letting your mind wander and create stories to the music that you hear. It is a series of stories and scenes illustrated creatively, accompanying famous classical pieces. I’d give it praise for introducing kids to this kind of music by itself, but it also went and gave us the predecessor to surround sound.

Case closed.

 

Most Beautiful Award (2-D)The Little Mermaid

This movie started the Disney Renaissance; it reminded everyone of the artistic potential of 2-D animation. It looks absolutely amazing.

 

Most Beautiful Award (3-D) Frozen

No contest.

 

Best Story AwardBeauty and the Beast

Can you feel the love tonight!
Can you feel the love tonight!

Not only did Disney successfully adapt this fairytale, they improved it.

A better reason for the Beast to get pissy with Belle’s father (the catalyst to the plot), a better reason for the Beast to be protective of his rose(s) (his last hope for humanity that is wilting more everyday), better stakes (loss of humanity, loss of life at least three times), a damn good villain (who probably gave Hans from Frozen some pointers), and it took some time (which the clever writers never specify) for an actual romance/friendship to develop.

 

Best Humor AwardPeter Pan

Say what you want about the Genie or Kronk or anyone else. Complain about the racist indians. Okay. Are we good now?

Because this movie has the BEST slapstick ever. Any scene with Hook, Smee, and/or the crocodile kills me every time. Peter’s not that bad either; we get some funny fight scenes out of him.

Peter-pan-disneyscreencaps.com-5207

 

Worst Music Award  – Home on the Range

 

I hate this movie. Also…Alan Menken…why?

 

Best Musicals AwardThe Little Mermaid

This was another tough one, but I think that this film has the (consistently) best songs in any Disney movie. They are all solid, memorable hits, except for maybe the “Daughters of Triton” song from the beginning.

Plus, “Part of Your World” was the “Let It Go” of the 90’s.

 

Best Score Award – The Hunchback of Notre Dame

Here is just a sample:

 

It is epic, awesome, and fitting (latin choruses in a movie starring a gorgeous Catholic church).

 

Best Straightforward Adaptation AwardSnow White and the Seven Dwarves

snow-white-and-the-seven-dwarfs

 

Probably the most faithful. Fitting, as it was Disney’s first venture into feature-length films.

 

Most “Child-Friendly” Elements Award Pinocchio

For those who think Hunchback of Notre Dame is Disney’s darkest film…

I have seen this movie maybe 3 times in my life…That’s more than enough for me. It’s actually really unpleasant.

First, consider this:

 

Second, these:

6a00d8341cc8d453ef01156f5f937b970b-800wi

Stromboli

Walt-Disney-Screencaps-Monstro-walt-disney-characters-31895025-2560-1905

 

Enjoy seeing these in your nightmares, kiddies!

 

Most Creative Animation Award – Alice in Wonderland

Alice-in-wonderland-93

 

In contrast to the vastly inferior live-action version, animated Alice’s world is very dark and minimalist at times. It feels as though anything could appear out of the shadows next, and over the course of the story, anything does. It’s a clever choice, and boy does it bring out the colors of everyone and everything else.

Take a note, overstuffed CGI fail-fest: less is more.

 

Character-Based:

 

Worst Villain Award – Edgar, The Artistocats

EdgarBalthazar

 

Least competent, least noteworthy, and least entertaining to watch. He has his moments, but for the most part, I just don’t care. The only thing more idiotic than him attempting to kill some cats because they are inheriting a fortune is that the lady is willing the fortune to her cats in the first place. Also, why would Edgar think he was going to get that money in the first place, and why would the lady even consider him? Does she not have any family? Friends? Charitable organizations that she supports?

 

Most Awesome Villain Award – Maleficent, Sleeping Beauty

disney-maleficent-sleeping-beauty

 

Kick-ass voice actress, amazing design, elegance, class, insanity, intimidation, power. And need we forget, self-proclaimed “Mistress of All Evil”?

As far as the “I do it because I’m evil” villains go, she is the boss.

sleepbeaut-11

 

Worst Villain Song Award – “Mother Knows Best”, Tangled

 

Except for the sinister “don’t ever ask to go outside again” line, this song is all goof and no bite. Lady Tremaine was a better controlling mother, and she didn’t even get a song.

 

Best Villain Song Award – “Poor Unfortunate Souls”, The Little Mermaid

A crazy faustian waltz filled with lies and seduction, and it ends on one hell of an awesome crescendo. It has all of “Gaston”‘s sentiment (“I’m totally not a villain. I actually a really awesome person”), mixed with undertones of “Hellfire”‘s creepy sexual overtones.

It’s only real issue is probably the lengthy dialogue throughout, but even then, it’s a great, sinister listen.

 

Best Villain Motivation Award – Judge Claude Frollo, The Hunchback of Notre Dame

God told him to do it. No, really.

Frollo is scary because there are people out there like him. He’s greedy, but repressed. When he has power, he abuses it for his own ends, but claims that it’s all for the greater good. How can that not be awesome?

Frollo's_Evil_Smile

 

Two more unrelated things of note: “Hellfire,” and Tony Jay. That is all.

 

Scariest Villain Award – The Queen, Snow White and the Seven Dwarves

Snowwhite-disneyscreencaps.com-8944

 

Look at it. LOOK AT IT.

Every time this woman stares into the camera, I dare you not to shiver. It’s like she knows you’re there, and once she’s offed Snow White, she’s coming for you.

Also, the “Thirsty?” scene is f%#*ed up.

The Queen pre-hagdom is pretty creepy too; her virtually frozen face, the way her eyes randomly widen and narrow while she speaks, her voice (Lucille La Verne took out her false teeth to do the Hag voice), her magic mirror slave. She’s one of the weaker villains character and motivation-wise, but her fear factor is not to be denied.

As she prepares her disguise potion, the hag’s cackle and scream of fright are particularly chilling.

 

As an honorable mention though, I’d like to point out that this guy exists:

giphy

 

Disney: The most wholesome factory of night terrors since 1923. Probably fitting, since it was also founded in October.

 

Most Entertaining Villain – Rattigan, The Great Mouse Detective

matome_20140619035017_53a25df94b9f3

 

He’s voiced by Vincent Price; it’s a match made in Hell.

So what if you can tell he’s the villain from 3 miles off? He’s so gleefully evil. He prances, for Hell’s sake.

Just watch him and try not to get into his performance.

Also, watch the climax to see him become truly terrifying.

 

Best Villain Laugh Award – The Headless Horseman, The Adventures of Ichabod and Mr. Toad

This one was a three-way tie between Maleficent, Ursula, and good ole’ headless, but we’re not going for most iconic laugh here. As awesome as the first two are, they can’t match the simultaneous levels of crap-your-pants fright, maniacal glee, and even hilarity that comes from this guy.

 

Best Villain Lair – Bald Mountain, Fantasia

Hmmm, what’s an awesome lair for a villain? Inside a dead elephant, or sea monster? A fortress on top of a mountain?

How about the mountain itself, where Hell’s minions come out and party with you?

 

Hell yes.

 

Best Villain Sidekick – Kronk, The Emperor’s New Groove

Kronk-disneyscreencaps.com-1576

 

I love LeFou, don’t get me wrong, but Kronk is funnier and plays off his villain, Yzma, much more comedically. That is what elevates him from potentially annoying to lovable and hilarious; he’s coupled with a jaded, smart sourpuss.

Yzmakitten1

 

Haha. Puns.

 

Scariest Non-Villain Award – The Beast, Beauty and the Beast

 

Finally A Non-Evil Queen Award – Elsa, Frozen

772e69ffb95ed60e96301e98ee423906

 

Because responsibility is not your enemy, little girls. You can rock a gorgeous dress AND rule a kingdom, without having to marry and let your man do it for you.

 

Worst Princess Award – Snow White, from where do you think?

1171071_1358713989500_full

 

Snow White ties with Aurora and Pocahontas for “Least Personality,” but Aurora isn’t ear-bleedingly obnoxious to listen to, and Pocahontas does more stuff plot-wise and is outdoorsy. This chick looks like she belongs on “Toddlers and Tiaras;” she wears way too much makeup and makes weird faces half of the time, but she acts like she’s five years old. I think she was coasting off of the popularity of Betty Boop.

It’s frustrating how much nothing she does, how stupidly naive she is.

 

Best Princess Award – Elsa, Frozen

Yes, her again. It counts because she was a princess til about the 1/4th point of the movie.

Don’t get me wrong. Belle will always have a special place in my heart, as will Mulan and Merida. Anna is pretty cool too (see what I did there?). But here’s the thing: Elsa has powers. Not just queen powers, but legit ICE MAGIC powers.

 

Worst Leading Man Award – Hercules, from guess where?

disney_hercules_pic33

 

I’ve got nothing really against the guy. He’s nice enough, but he’s kind of boring. Also, his motivations are kind of selfish.

 

If you’re wondering why Philip or the two other “Prince Charmings” didn’t end up here, it’s because there was nothing to work off of there. They do nothing (aside from Philip, who is awesome despite his blandness), and have no character traits to speak of.

 

Best Leading Man Award – Kristoff, Frozen

Kristoff_Sven

 

Frozen has a bit of an unfair advantage; it’s the most recent animated film, and probably the most conscious of previous Disney “flaws”. But still, it must be counted.

Kristen may not have an epic fight with a dragon or a giant octopus-woman under his belt, but he’s got a lot of personality. Probably the most of all the Disney guys, aside from the Beast. He’s the closest to a guy you might actually know, but he’s never boring or standard. He’s Kristoff, the pungent reindeer king!

 

Worst Good Guy Sidekick Award – Buck, Home on the Range

Clipbuck42

He’s obnoxious, plain and simple. He kung-fu kicks everywhere and thinks he’s too cool for school. He is a waste of thought and screen time.

 

Best Good Guy Sidekick Award – Olaf, Frozen

frozen-olaf-353-300x0

 

I’m sorry to keep doing this to you.

Olaf could have been horribly annoying as far as sidekicks go, but he’s actually really cute and likable. Because he was a product of Anna and Elsa’s early (happy) childhood, it makes sense for him to be silly, upbeat, and naive. He also gets some really genuinely funny lines.

 

Jerk Protagonist Award – Mr. Toad, The Adventures of Ichabod and Mr. Toad

giphy-facebook_s

 

I was tempted to go with Aladdin because he’s a compulsive liar and essentially a con man. But hey, it’s for love, so at least it’s a…good cause?

I also thought about Ichabod from the same above-mentioned movie, because he wants to marry Katrina to get her family farm and money, and he actually FANTASIZES ABOUT HER FATHER DYING. But again, the other two main characters, Brom Bones and Katrina, are just as jerky as he is, so it’s a more level playing field.

So how about a guy who destroys public property without thought, who is extremely prone to bad habits and fads?

Mr. Toad even goes to jail at one point, albeit for a crime he didn’t commit. At one point, he considers turning his life around and taking his friends more seriously (and less for granted). Does he?

Nope-timon

 

No lessons learned. No growth or change. What an asshole.

 

Sympathetic Villain Award – Elsa, Frozen

This one is cheating just a bit, but she’s mistaken for the villain by most of the rest of the cast and does inadvertently cause the dangerous predicament that the kingdom falls into.

Elsa is sort of like Frollo (repressed), but a nice person. She means well and doesn’t want to hurt anyone. She gets an awesome moment of freedom and happiness, only to realize that she still has responsibilities, and must fix the hurt that she’s caused, even though she has no idea how.

 

Backhanded Best Mother Award – “the queen”, Sleeping Beauty

Queen-Leah

 

Do you know what is worse than offing mothers? Not even giving them f&#%ing names.

And really, there is no excuse for this. You named the father Stephan; why wouldn’t you toss out anything for the queen? She actually gave birth to Aurora! Doesn’t that count for anything?

Yes, in Disney Princess Enchanted Tales, they name her Leah. That doesn’t count. None of the direct-to-video stuff counts in the grand scheme of things.

 

Best Father Award – Maurice, Beauty and the Beast

1319229_1387662544748_full

 

He’s quirky, supportive, and adorably bumbling. Plus, he deserves an award for all of the crap he endures throughout the course of the movie.

Also, just because you needed to see this:

 

Best Castle Award – Sleeping Beauty

141 Tumblr_mjirs4GSC71r1ogfco7_1280

 

I just love the look and feel of it. So much detail, like a tapestry…

 

Marge’s Favorite Character Award – Cheshire Cat, Alice in Wonderland

Cheshire-cat-4

 

I love his voice actor (Sterling Holloway, who also did Winnie the Pooh btw), his madness, his design, his color scheme. What is not to like about a cat with seemingly god-like powers who may or may not be out to get you?

That’s the awesome punch of Alice in Wonderland‘s characters: you never know if they’re going to snap on you at some point. Are they harmless, or…?

The intrigue there is part of his appeal.

 

And I think that is quite enough for today. Needless to say, Disney has done some good work. Let’s hope we and our families get more quality entertainment in the future.

 

*All pictures, video clips, and other media belong to Disney. None of the images or sounds belong to me.

 

 

 

 

 

Advertisements

Top 5 Worst Romantic Comedy Cliches

Don’t get me wrong; I love romantic comedy as much as the next girl. It’s like entering a sugary alternate reality where hot movie stars try to be clumsy, cute, and relatable human beings; even a “loser” can get the girl/guy; the bad guy gets his comeuppance, or at least spends the rest of his life miserable and alone; and happily ever after always wraps up nicely for two souls who were bound to be together.

It’s an alternate reality where everything is how it should be.

Romcoms are a fantasy. Not the type that invokes images of grand adventure, dragons, and wizards, but in its own right, it involves just as much suspension of disbelief. It’s a type that deals with idealism and simplicity. It’s definitely got a charm to it, but sometimes people take issue, whether it’s because it’s not a fantasy they personally subscribe to, or because all fantasies give unrealistic expectations for the complicated world we actually live in.

Sometimes we need a break from the unshakeable truth: “Life isn’t fair.”

So while I’d be a snob and a hypocrite to act like I’m above all the cotton-candy clouds and sparkly fairy dust, I maintain that romcoms are, consistently, the least challenging, most pandering genre, next to robot/monster beat-em-ups. It is emotional “porn”  for women (though some men enjoy it as well), and there are a couple of common tropes and trends constantly being used and abused that I take particular umbrage with.

1# Lack of Humility/Subtlety in the Writing

 

A lot of films (besides just romcoms) have a tendency of “breaking the fourth wall.” For those of you who have never heard this expression before, look at your T.V. or computer and image the show you are watching exists in its own separate reality, not connected to yours. “Breaking the fourth wall” is, in essence, transcending beyond the screen, the wall that separates you from them. It’s when the characters implicitly or explicitly refer to the audience. One common example is talking or “winking” to them.

If you still don’t quite get what I mean, think of the side glances into the camera you see on Looney Tunes, or comments like “gruesome, isn’t it?”. Look at Ferris Bueller’s Day Off, where the titular character isn’t narrating so much as thinking out loud in the moment, all the while smiling and looking right at you, like he knows you’re there. Games do it too. Without spoiling too much, the cult classic Conker’s Bad Fur Day‘s ending pretty much obliterates any semblance of fourth wall left standing at that point.

ff-v-fourthwall

This is often, if not almost exclusively used for comedy.

Sometimes, writers use a subset of this to poke fun at themselves via the trope Who Would Want To Watch Us? Other times, they like to verge on fourth wall breaking with something called Lampshade Hanging, or “spotlighting.” That is when you take a problem or an unbelievable element within your own work and drag it into the spotlight within said work, so that everyone can see it. It can’t be ignored because the creator is addressing it. They knew it was there, even before you did.

Some writers do it because they think it’s really funny, or self-mocking. Others treat it like critic repellent.

I don’t mind Lampshade Hanging here and there. I love self-referential and self-debasing humor. But it irritates me when films sneer down their nose at common cliches and tropes, only to then use them later down the line in the same work. As if somehow that makes the overdone original again. I find it pretentious, cheap, and lazy.

Here is one example:

In the movie Pitch Perfect, Jesse, the love interest, (who is downright adorkable, by the way) tries to get Beca, the snarky sound-mixer protagonist, interested in movies. She totally gets the appeal of music, but movies just bore her. Jesse insists that the endings are the best part, but Beca gives a little speech about how they are so formulaic and predictable. Why would you want to watch something when you know how it will end?

Guess what happens:

Jesse and Beca hook up in the end. The guy gets the girl. That is as predictable as the sun rising in the morning. But wasn’t that snarky little speech just so enriching and innovative?

Allow me to quote a new favorite critic of mine, TheMysteriousMrEnter, from several of his reviews:

“Pointing out your problems does not make them go away.”

This can also work out badly in the inverse. If the writers are actually doing something unique or interesting, but feel the need to bash us over the head with it as much as possible. That’s obnoxious too.

For that example, look at Disney’s self parody, Enchanted. It turns out Princess Giselle has to save her damsel-in-distress boyfriend from a giant dragon. Instead of just letting the scene play out on its own, the evil queen/dragon has to make dry remarks every few minutes about how interesting and flipped the situation is.

I THINK WE GET IT.

As with many things in life, balance is key. Also, don’t pee on your audience and tell them it’s raining.

2# I Hate You, I Love You

 

Chicks love seeing relationships where there are none. Whether characters are just friends, bitter rivals, or hated enemies, odds are that you will find a fandom for every possible couple. I think romcom writers recognize this, because they seem to get a lot of mileage the “will-they-or-won’t-they” trope, particularly when it involves open hostility.

The Ugly Truth. The Proposal. Leap Year. And those are just some of the more recent ones, to name a few. The couple starts out with one or both parties hating the other, only to find out in the end that – surprise! – they actually love each other.

In some cases, the parties may even go back and forth.

elle-01-lies-about-the-notebook

I’m aware that there is a thin line between love and hate, and both require a level of passion and devotion, but used as often as it is, this trend quickly becomes annoying. Either put a new spin on it, or let it sleep for a while.

Also, can we do something about the awkward love triangle? You know, where the woman has a hot nice guy and a rude, obnoxious but also hot other guy, and she never fails to go for the jerk? Blah blah blah bad boys are cute. Blah blah blah nice guys finish last. How do we know life isn’t mimicking “art,” and not the other way around?

3# Obligatory Third-Act Misunderstanding

 

This is an epidemic. Not just in romcoms, but in movies as a whole. It needs to be destroyed, preferably with fire and salt.

Some stupid, contrived thing must break up the characters, all because the writers can’t figure out how to write a full story without cramming one in for pointless drama. It seriously just drags out the inevitable for another 20 or so minutes.

Yes, people can be dishonest and keep secrets. Yes, sometimes there is a liar, and he/she gets the mask pulled off at the wrong time. Stuff like this can happen in real life. But often this trope is, as I’ve mentioned, stupid and contrived.

Maybe the guy waffles around, debating when is the best time to tell his girlfriend that he was dating her only because of a bet. Or maybe he vehemently denies his growing feelings, only to have her accidentally overhear.

*COUGH COUGH*
*COUGH COUGH*

 

Or maybe he just can’t admit his feelings to her face because he’s stubborn (a man, basically) or awkward, and she’s had enough waiting.

Maybe Hugh Grant is Hugh Grant-ing it up, and the woman identifies him as an a-hole.

Take your pick, or fill in more blanks with your personal favorites. You know what I’m talking about.

And this isn’t just about nitpicking, or not acknowledging that sometimes avoidable, asinine things can happen in real life. Because they do. This is wondering why no one ever calls the police or arms themselves in a horror movie. This is wondering why they always run upstairs when a maniac is chasing them. The reasons for this trope are so idiotic; things that could easily be solved by something in the real world that we call “open communication.” Or having two working brain cells to rub together.

But then again, an open, healthy relationship is boring. And normal.

How about we put these misunderstandings in the first act and then get past them? How about that? That isn’t too overdone…yet…

4# The Woman is Always Right

 

Most romcoms, usually as a result of the totally necessary use of #3 above, end with someone (most often the woman) storming off. It is almost always up to the man to figure out what went wrong and fix it.

a la tvtropes.com
a la tvtropes.com

 

Okay, I’m a woman. I get other women. We’re emotional beings that don’t always recognize logic. I admit this. But we’re not stupid and crazy and hormonal all the time.

Half the time when I see this contrived bs, I am yelling at the woman to use her Cosmo-clouded brain.

“Confront the man, and I don’t mean like a closed-off idiot!” “Be honest and tell him what in holy hell is bothering you!” “THINK!”

Sure, the men do stupid things too. They can make mistakes and not recognize them. But romcoms like to make this a big thing that happens all the time. No one likes being wrong, and certainly not the women inserting themselves in the protagonist’s place.

This is not a romcom so much as a family comedy, but look at the Lindsay Lohan movie Parent Trap. Elizabeth (the mother) up and left Nick (the father), effectively splitting up their twins for life and content to never inform them of each other’s existence, and then she got upset that he didn’t come after her. He, on the other hand, figured that was what she wanted.

(note: I loved that movie as a kid, but I find the parents stupid, impossible to relate to, and damn near despicable)

As another example, look at Bride Wars. Emma’s boyfriend Fletcher calls her out for being crazy and catty (and stupid), and Emma and the movie frame him as the a-hole who just doesn’t understand. Sure, he isn’t gentle with his words, but he told her what none of her other girlfriends would, and he had every right to question why the woman he was marrying seemingly changed overnight into a childish, vindictive, passive-aggressive jerk. In the end, the two girls (Emma and Liv) who fought stupidly the whole movie over the “ideal wedding” become bestest friends again like nothing ever happened, and Fletcher is told off and leaves the movie entirely. Even though he was technically right, he’s wrong.

Women win, even when the conclusion makes no sense or is terribly skewed. As much as I dislike Leap Year, at least the confusion is on Anna, and she goes after Declan and proposes to him. Even Pitch Perfect tried it, with Beca driving Jesse away, only to win him back.

Contrivance and cliché can have some flavor with a little mixing up every now and then.

5# Woman as Lonely Cat Lady/Loser.

 

She’s insecure. Don’t know what fer. She turnin heads when she fix herself up mo-o-ore.

…Sorry. Just thought I could sum this one up while simultaneously mocking One Direction.

The woman in the movie is supposed to be you. Yes, you, lonely girls and aging women. She’s just like you, but hotter. She just doesn’t know it/own it yet. Again, they can insert themselves into the place of the lead woman and get a sense of catharsis from it.

Maybe she’s clumsy and awkward. Maybe she doesn’t know how to pick clothes or styles that flatter her, and just stumbles around in a baggy t-shirt and loose jeans. Maybe she has – gasp! – glasses!

Regardless of how it happened, it must be fixed. Usually with the introduction of a love interest. I guess that when I get right down to it, that’s the gist of what bothers me.

It is at its most egregious state in The Ugly Truth. But I can’t even talk about it, because it is seriously one of my most hated movies ever. Right up there with Identity Thief. That disgusting piece of trash thoroughly insults both genders, and the pig-headed man is always portrayed as being “in the right.”

My favorite romcom of all time,  My Big Fat Greek Wedding, is also guilty of this one, but I don’t mind it so much there. I thought it was used effectively. Sure, Toula sees a man and feels bad about herself, but I don’t think that is really the impetus for her fixing herself up and going to college. She didn’t need a man so much as a fulfilling purpose in life, and the backbone to put her foot down sometimes with her wacky family. The man came later, when she was much happier and more confident with herself.


The problem with mirroring real life so closely is that, at times, it tends to highlight our grievances with the real world, rather than let us temporarily forget them. Why aren’t all men dashing princes, ready to sweep you away to their castles astride gallant white stallions? Why don’t nice women with wonderful personalities and quirks always find Mr. Right at the opportune time, or sometimes ever? (ask the same question for the fellas)

I wouldn’t mind a little less simplicity, a little more variety, or at least changing things up more often. The world is complex, full of plenty of unique, possible scenarios, but here the writers are, sticking to what is familiar. Comfortable. Routine.

And so are we.

Even fantasies have become standard and predictable, when they were meant to excite and stir the imagination. So what does that tell us?

Disclaimer: Photos and gifs belong to their various owners, not me. Keep in mind that this is my list, and I’m not insulting you if you like any of the movies/things I referred to negatively. I’m also not saying that said films don’t have an original bone in their body.