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The story of diversity and representation in cinema is about evolution. Take Disney and depictions of Asian life and culture. When the studio released Mulan in 1998, it was in part a reaction to the gross stereotyping in The Siamese Cat Song in The Aristocats. Two decades later, and Mulan has its own issues, but Raya and the Last Dragon, the 59th animated feature from the House of Mouse enters the discussion. Where it starts is by throwing out the idea of Asian as it stands in American cinema, which is too often a clumsy mish-mash of Chinese and Japanese influences. The sumptuous mythical world of Kumandra draws in real-world Asian influences: Yet they are not monolithically East Asian, instead evoking Southeast Asia, most especially Malaysia, Myanmar, and Brunei. This is where Raya (Tran) is on a search for a legend, and the shattered remnants of a magical stone that contains the magic of the last dragon, Sisu. What she actually finds is Sisu herself (Aw ....