https://www.nationalreview.com/2019/01/mary-poppins-returns-with-a-socialist-subtext/
Mary Poppins returns, we’re told, but only Baby Boomers will care. Roma offers the nanny Millennials can relate to. Who is this white British twit with a cinched overcoat and bumbershoot who goes about ordering around her betters and consorting with working-class inferiors? No one asked for Mary Poppins’s return to modern consciousness, but her reappearance unmistakably proves that Hollywood Boomers are desperate to justify their own mediocrity through nostalgic sentiment.
Also unmistakable is the nasty political undercurrent that prevents this reboot from being escapist fun. Take the new politically instructive songs in Mary Poppins Returns. Sure, they’re the usual Marc Shaiman pastiche — cliché Broadway compositions (from the composer of the lame musical Hairspray) that lack the memorable delight of Richard and Robert Sherman’s songs for the original Mary Poppins in 1964.
Incapable of a charming tongue twister, or relatable lyrics about medicine in sugary spoonfuls, Shaiman assimilates the #Resistance mood that has overtaken Broadway and Hollywood. Though pretending to be innocuous family entertainment, the knock-off tunes have a faintly repressive, pedantic note, especially in Shaiman’s balloon-song finale “Nowhere to Go but Up.” To careful listeners, it sounds like showbiz Stalinism: “The past is the past / It lives on as history / Let the past take a bow / Forever is now.” Why should a family-movie ditty recall the essence of Soviet erasure of history?
That erasure also reeducates memories of the first Mary Poppins film in which a subservient female nanny, who shows up weirdly out of nowhere, supports the bumbling male head of a stuffy British banking household. She sustained England’s class system almost supernaturally — or supercalifragilisticexpialidociously. Now Mary returns for no better purpose than commercial repackaging. (Meanwhile, minor characters play out a Socialist subtext, campaigning for underpaid workers.)