Entertainment
The cultural significance of the catchy ‘Moana 2’ song 'Can I Get a Chee Hoo?'
“Can I get a Chee Hoo?”
It’s a question that the demigod Maui tunefully poses to the titular princess in “Moana 2.” But this seemingly simple request is steeped in cultural tradition, notable in narrative context and, given its catchy hook, likely to become Disney’s next inescapable earworm.
The charismatic composition — performed with gusto by Dwayne Johnson — is indeed worth shouting about, especially on the heels of the beloved numbers of the 2016 movie, which were written by Lin-Manuel Miranda, Mark Mancina and Opetaia Foa‘i. “The first one was great to introduce this culture to the world, and I’m very proud of what we achieved,” said Foa‘i.
“The songs of a second movie have got to be either as good as the first movie or better,” said Mancina, who co-wrote the sequel‘s songs with Foa‘i, Abigail Barlow and Emily Bear. “If they don’t have integrity, kids can tell: This is just a money grab.”
The animated adventure picks up three years after the events of the first movie: Moana, now a seasoned “wayfinder,” respected community leader and an older sister, answers a call from her ancestors to venture further than ever before, all to try to secure her island’s future well-being.
“This time, the story also is all about that aspect of growth of trying to plan where you’re going and wanting to stay the exact course, but really understanding that life will throw curve balls and challenges your way, and you can lean on your crew to help you through it,” said returning actor Auli’i Cravalho, who voices Moana.
“Moana 2” picks up three years after the events of the first movie, with Moana now an older sister.
(Disney)
A standout song, “Can I Get a Chee Hoo?” is performed more than halfway into the movie, when Moana is deeply discouraged about facing Nalo, the god of storms.
“In the first movie, Maui met Moana when he was at his lowest and most vulnerable, and she empowered him and helped him reach his full potential,” said David Derrick Jr., one of the sequel’s three directors. “We wanted Maui to return that favor to Moana, but in the most entertaining way possible.”
“Can I Get a Chee Hoo?” is an upbeat, percussion-driven track with shades of a rock anthem that also offers a retro instrumental solo (a blend of a jazz flute and various synths, delivered by Maui via fire conch). It was the last song written for the movie, replacing another number that didn’t quite reflect where Moana was in that moment, or how much Maui cares for her.
“Everything we were doing was either too cheesy or abstract, or it sounded like a s— motivational speech that we were copying from YouTube,” said Bear. “How do we make this cool and not cringy, and still authentic to this character and his friendship with Moana?
“When I’m at my lowest and I feel like nothing anyone will say to me will make me feel better, I don’t need a motivational speech, I need a dose of reality,” Bear continued. With this song, “Maui essentially tells Moana, ‘Stop doubting yourself, because the enemy you’re up against doesn’t doubt you. He wouldn’t waste his time trying to stop you if they didn’t think you were capable of beating him.’”
Maui reminds Moana of who she is in the new song “Can I Get a Chee Hoo?”
(Disney)
Maui musically lifts Moana up by reminding her of who she is, applauding her innate greatness and then challenging her to do the same for herself. How? “With a rallying cry of epic proportions,” said Barlow.
This specific phrase — already exclaimed often by Maui throughout the first film — is a fa’aumu or an expression of emotion in Samoan culture, and it holds great significance throughout Pacific Island communities at large.
“I think how it’s represented in the film reflects how it’s actually used today,” said Grant Muāgututi’a, a Samoan linguist and dialect coach who worked on the movie. “It’s like your heart’s showing. The most common contemporary use is to show support at a special occasion — a performance, a football game, a wedding or a funeral.”
“It’s such an important celebratory cheer, like our version of ‘hip hip hooray,’” added Cravalho. “As soon as fireworks go off on New Year’s Eve, you can hear Chee Hoos all across the island. It’s almost like a call-and-response. Any time there’s a graduation and there is a Pacific Islander who steps up onstage, you can bet we are Chee Hoo-ing the loudest.”
The “Moana 2” song adopts this Pacific Islander greeting as a life ethos, similar to how “Hakuna Matata” frames a Swahili translation as a personal motto in “The Lion King.” “We wanted to make sure that nothing we do is too silly,” said Mancina, who worked on both songs, “but that it’s still really fun.”
Adapting the culturally significant phrase for an anticipated Disney movie initially made co-director Dana Ledoux Miller nervous.
“It’s something I take very seriously and have had a lot of conversations about, mostly because I wanted to make sure that, in using it, it was a celebration and used in a positive way,” she said. “Knowing that it would mean a lot to a lot of people, we didn’t want to get it wrong. It was exciting to be able to move with that mindfulness through this collaboration and create something that’s so fun. I feel so proud of the care that we took in this.”
In order to get it all right, “Moana 2” directors Derrick and Ledoux Miller — both of whom are of Samoan descent — and Jason Hand created the film with numerous culturally authentic elements, thanks to the movie’s Oceanic Cultural Trust, a group of 13 experts in anthropology, history, movement, canoes and navigation, linguistics and various cultural practices.
“I think that, by showing more moments where we lean into the specificity of culture, the audience leans in too, because it grounds our story in a real way,” said Derrick. To him, a song like “Can I Get a Chee Hoo?” is proof that “being specific with culture doesn’t have to be a weighty moment. It can be uplighting and fun and joyous.”
“It’s awesome to be part of all these brilliant minds, working together to make the movie as resonant and respectful as possible,” added Muāgututi’a, a member of the Oceanic Cultural Trust. “When things like ‘Chee Hoo’ are shared in a way that’s accurate and inclusive, it’s less appropriation and more appreciation. It’s all love.”
The trust consulted on many key moments that illustrate Moana’s culture as well as her character‘s growth: her participation in a kava ceremony for a new title, the further progression of her wayfinding abilities and her pivotal performance of a haka, a ceremonial dance and chant. “I’ve never done a haka before, so I was so into it,” said Cravalho of filming the scene. “I put my whole chest into it and it felt so good!”
The “Moana 2” Oceanic Cultural Trust consulted on many aspects of the film, including a fun dance battle.
(Disney)
And in “Can I Get a Chee Hoo?,” Moana is shown performing siva afi, or fire-knife dancing. “It’s something that you only see men do,” said animation reference choreographer Tiana Nonosina Liufau. “When I was physically doing it [as a model for the film’s animators], I really felt so empowered. So to think about Moana doing it in this moment when she’s feeling down, and especially that you don’t usually see women doing it, I think she leaves that song feeling a lot of power.”
“We were obsessed with getting that right,” said Hand of replicating Liufau’s physicality for the fire-dancing sequence. “Those moves all mean something, so it’s really important to do it properly. Our animators really paid close attention to all that work that she did.”
According to Hand, Johnson “got goosebumps when he first heard” “Can I Get a Chee Hoo?” In the recording booth, Bear encouraged the actor to imagine he was singing directly to his daughter: “If you saw her in this position, how would you want to deliver this message to her? It’d be full of heart.”
With “Moana 2” now in theaters, “We’re probably going to see a lot of young kids shouting ‘Chee Hoo’ all over the place,” said Foa‘i with a laugh. For Moana actor Cravalho, that’s a thrilling thought.
“I’ve had a decade with this character, and the impact she continues to have is almost overwhelming for me,” she said. “It’s truly so important to see a young woman be the hero of her own story, and I feel great pride that our specificities get shared with the masses because Disney puts them on a larger platform. So to people who are not of Pacific Island descent but still find themselves in this character or other characters in this film, I say thank you.”
Moana goees on an adventure with a new crew in “Moana 2.”
(Disney)
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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