Paws of Fury: The Legend of Hank

Voice cast is mixed (Cera, Jackson, Gervais, Takei, Yeoh, and others), but characters are cats and dogs, so race-quota casting of human roles is not the main issue. Emiko’s girl-samurai path and press talk about representation add a mild, audience-visible identity note rather than a hard casting agenda.

Clear message lines about belonging, “go back where you came from,” and hating people who look different. Prejudice jokes and “we can all be better together” style morals are easy for kids and parents to hear. Not constant activist speech, but hard to miss when it hits.

The whole story is an outsider judged for what he is (dog among cats), adapted from a famous race satire. Acceptance of difference, with a side thread of a girl wanting the samurai job, is the main theme, not a side plot. Strong for a kids comedy, still more classic “tolerance fable” than a full modern identity manifesto.

Villain is a greedy official who wants land for a bigger palace—standard cartoon greed. Little focus on modern attacks on Western faith, family norms, or “toxic masculinity.” Prejudice is mocked; institutions are not the main target.

Blazing Saddles is remade as a cat-dog kids fable (ordinary soft adaptation). Emiko’s girl-samurai ending is a small modern empowerment add-on, not a big identity rewrite of famous named heroes or history figures.

Only sparse, low-profile claims that a sanitized Blazing Saddles remake is “woke.” No major coordinated anti-woke campaign or headline controversy of that kind.

Cached crew scores are low (mostly 0–17). For this film, Minkoff did market the message as diversity and inclusion, but the team’s broader public record is not activist-driven.