History WesternAnimation / TheRescuers

* MinionWithAnFInEvil: Mr. Snoops is not willing to keep Penny down in the cave when the tide is rising. He also suggests to just make a fortune off the jewels she has already brought up instead of continuing to send her down the Black Hole to risk her life. And unlike Medusa, who scares Penny, Penny knows that his threats are empty bluffs, and the worst he does is tell her not to sass him.

What makes the movie interesting in a RealLife sense is how it came during a time when Disney was facing changing fortunes. The film was almost a reflection of what the Disney company was facing following the death of [[Creator/WaltDisney its founder]]. The late-'70s Disney movies tended to be considerably darker than their forebears, reaching a nadir with the next movie, ''WesternAnimation/TheFoxAndTheHound''. These movies both contained utterly gut-wrenching examples of ParentalAbandonment. And Madame Medusa's casual nastiness towards Penny in this film ("What makes you think anyone would want a homely little girl like you?") comes up against the more outlandish behavior of any Disney villain in history simply because as a verbal shiv, to a freaking ''child'', it has no equal. On the technical side, this film was the first Disney animated film to move away from the hard scratchy outline look that was the norm for Disney animation since ''WesternAnimation/OneHundredAndOneDalmatians'' thanks to an upgrade in the studio's xerography inking process, enabling the use of softer colored linework on finished animation. The film's crew likewise reflects the studio's increasing integration of new talent, marking a more distinct break with its Walt-produced output than ''WesternAnimation/TheAristocats'' or ''[[WesternAnimation/RobinHood1973 Robin Hood]]''. While [[UsefulNotes/DisneysNineOldMen members of the "Nine Old Men"]], such as Wolfgang Reitherman, Milt Kahl (animating the lion's share of Madame Medusa before his retirement in 1976) and [[DiedDuringProduction John Lounsbery]] continued to helm much of the film's storyboarding and animation, this film nonetheless features some of the earliest Mouse-released animation by later Disney Renaissance juggernauts such as Glen Keane and Ron Clements, marking the earliest foreshadowing of the studio's later upswing. Similarly, this film was also one of the few box office successes for Disney in the post-[[Creator/WaltDisney Walt]]/pre-[[UsefulNotes/TheRenaissanceAgeOfAnimation Renaissance]] era, being the highest grossing animated film of all time until one of its directors, Creator/DonBluth, challenged Disney with ''WesternAnimation/AnAmericanTail'' nearly a decade later. In addition, this helped give rise to ''WesternAnimation/ChipNDaleRescueRangers'' due to originally being a series based off the movie until ''Down Under'' was greenlit, at which point Tad Stones helped mold the series into what it was. Most importantly, it was the last film Walt Disney himself had even the smallest bit of involvement in whatsoever, as the earliest plans for it began two years before his death.

* AdaptationalExplanation: Some picture books give the additional reason to the Rescuers inability to deliver Penny from peril before the fateful trip to the Black Hole of Medusa taking Teddy hostage that night, and Penny not wanting to leave him. Bernard and Bianca then agree to help her find the Devil's Eye so as to get Penny home safely.

* {{Bowdlerization}}: In two frames of the movie in its theatrical release, when Bernard and Bianca are riding Orville, going down from the building they were on, one building next to them has an image of a live-action naked woman in one of the windows. Disney found this out prior to the film's initial VHS release and had the images removed (all subsequent home video releases, except the early prints of the 1999 VHS and Laserdisc, feature the edited version). According to animator Tom Sito, on his Facebook page, the image was put in by background artist Annie Guenther. A late-70s/early-80s episode of ''The Wonderful World of Disney'' about flight featured an excerpt from the scene in question, complete with a topless woman. This episode aired when [=VCR=]s were starting to take off, and was rerun in syndication in the late-80s after [=VCR=]s became common, so the fact that it took nearly ''20 years'' for the public to find this out is an oddity. [[labelnote:Then again...]]There are a number of reasons it wasn't known until 1999. 1) Disney apparently had more than one print of the movie and the 1992 home release of the film was apparently one of these other prints that didn't have the objectionable images (it's entirely possible that the scene from the Wonderful World of Disney was from a similar--or even the same--print). 2) The film runs at 30 frames a second, the frames are not consecutive and the image appears once the bottom of the screen the first time and near the top the second, so it isn't visible during normal viewing. 3) Those images would have only been found by sheer luck. Only by pausing ''exactly'' on one of these two frames could one see the image at all, the frames are in a rather exciting scene (not a place where a tape is likely to be paused)--and then notice a small background detail on a television screen that was (at the time) only two feet or less across--and pausing [=VCR=]s often made the screen blurry, which makes picking out details even harder. In fact, the image is ''so'' hard to find (aside from going frame-by-frame during that scene--which makes no sense unless you know the image is there) that it wasn't until a spokeswoman from ''Disney itself'' announced that the recall was happening due to two of the frames held an "inappropriate image" that anyone knew anything was amiss--whereupon, of course, the curious went through the movie frame-by-frame to find out what that image was. Some skeptics believe that while the announcement was true, [[NoSuchThingAsBadPublicity it was only made to boost sales of the video]], which was sure to become an instant collector's item.[[/labelnote]]

* CompactInfiltrator: The Devil's Eye diamond resides in a cave that is too narrow for Madame Medusa and Snoops to get through themselves, so the kidnap the much smaller Penny and have her get it instead.

* GargleBlaster: Luke's "swamp juice". When Luke pours it down Bernard's mouth, Bernard has spastic reaction and gasps. It is strong enough to bump-start the "swampmobile" too.

* LetsGetDangerous: Bernard and Bianca in the climax do this to save Penny from a gun-toting Medusa; so do all the local critters. They trip her with a wire and create an opening for Penny to grab teddy and run. Then as the local swamp folk charge, they set themselves up as bait for Brutus and Nero to get them out of the way. As the owl and rabbit set off the fireworks to distract Medusa and destroy her gun, Luke and Bernard get the swampmobile started as Bianca serves as lookout. The teamwork results in Medusa trapped on the riverboat pipe with her crocs nipping at her, and Penny safely on her way to the authorities.

* NationalStereotypes: All the mice in the Convention serves as this, except for Africa, who has a ''continental'' variety.

* RepeatingSoTheAudienceCanHear: Madame Medusa does this when getting the phone call from Mr. Snoops in her pawn shop. It provides exposition for the audience as well as clues for our heroes who [[ExactEavesDropping happen to be around at the right time]]. Justified by 70's-era phone systems, which were still analog rather than digital, and long distance calls could be very scratchy and muffled (especially in an area like the swamp) - she's repeating back what Snoops said to confirm she heard him correctly.
* RougeAnglesOfSatin: InUniverse. Penny's letter is littered with spelling mistakes like "orfanage", "New Yorc" and "turible trubble." Justified by her being early elementary school age.

* SeriousBusiness: The R.A.S. take their cause very serious and summon mice from all over the world after a MessageInABottle was found in New York. Lampshaded by the Chairman.

* TalkingAnimal: Watching the movie, it would seem to be left uncertain whether anyone other than Penny can actually understand the animals. Notably, the alligaotrs don't talk, though.

* NearVillainVictory: Having stolen Penny's teddy bear to put the Devil's Eye, Medusa threatens to shoot Penny with a shotgun if she tries to resist. When the mice trip up Medusa up so that she drops the bear with the diamond inside, Penny grabs them and flees, [[VillainousBreakdown Medusa murderously pursuing her and trying to shoot her]]. When Medusa spots Penny in the swampmobile, Medusa draws a bead on her. Penny and the mice see her, Bernard warning her to look out. Had not the owl assisting Penny stuck a lit firecracker in the barrel of the gun, thereby destroying it, Medusa might have succeeded in actually shooting and killing the little girl.

''The Rescuers'' was released in 1977. The flamboyantly evil Madame Medusa ([[https://en.wikipedia.org/wiki/Geraldine_Page Geraldine Page]]) is trying to get her hands on [[MineralMacGuffin the world's largest diamond]] hidden in a gloomy swamp. Needing someone who will fit in a tiny grotto, she kidnaps a disconsolate orphan girl named Penny (Michelle Stacy). Penny sends out a MessageInABottle asking for help, which is intercepted by the all-mouse Rescue Aid Society, who for some reason, do not put it somewhere the police might find it while they send out their own agents. Bianca ([[https://en.wikipedia.org/wiki/Eva_Gabor Eva Gabor]]) and Bernard (Creator/BobNewhart) are then sent out to save her, with help from an albatross named Orville ([[https://en.wikipedia.org/wiki/Jim_Jordan_(actor) Jim Jordan]]) and a dragonfly named Evinrude ([[https://en.wikipedia.org/wiki/James_MacDonald_(actor) James [=MacDonald=]]]).

What makes the movie interesting in a RealLife sense is how it came during a time when Disney was facing changing fortunes. The film was almost a reflection of how the Disney company was facing up to the death of [[Creator/WaltDisney its founder]] -- the late-'70s Disney movies tended to be considerably darker than their forebears, reaching a nadir with the next movie, ''WesternAnimation/TheFoxAndTheHound''. These movies both contained utterly gut-wrenching examples of ParentalAbandonment. And Madame Medusa's casual nastiness towards Penny in this film ("What makes you think anyone would want a homely little girl like you?") comes up against the more outlandish behavior of any Disney villain in history simply because as a verbal shiv, to a freaking ''child'', it has no equal. On the technical side, this film was the first Disney animated film to move away from the hard scratchy outline look that was the norm for Disney animation since ''WesternAnimation/OneHundredAndOneDalmatians'' thanks to an upgrade in the studio's xerography inking process, enabling the use of softer colored linework on finished animation. The film's crew likewise reflects the studio's increasing integration of new talent, marking a more distinct break with its Walt-produced output than ''WesternAnimation/TheAristocats'' or ''[[WesternAnimation/RobinHood1973 Robin Hood]]''. While [[UsefulNotes/DisneysNineOldMen members of the "Nine Old Men"]], such as Wolfgang Reitherman, Milt Kahl (animating the lion's share of Madame Medusa before his retirement in 1976) and [[DiedDuringProduction John Lounsbery]] continued to helm much of the film's storyboarding and animation, this film nonetheless features some of the earliest Mouse-released animation by later Disney Renaissance juggernauts such as Glen Keane and Ron Clements, marking the earliest foreshadowing of the studio's later upswing. Similarly, this film was also one of the few box office successes for Disney in the post-[[Creator/WaltDisney Walt]]/pre-[[UsefulNotes/TheRenaissanceAgeOfAnimation Renaissance]] era, being the highest grossing animated film of all time until one of its directors, Creator/DonBluth, challenged Disney with ''WesternAnimation/AnAmericanTail'' nearly a decade later. In addition, this helped give rise to ''WesternAnimation/ChipNDaleRescueRangers'' due to originally being a series based off the movie until ''Down Under'' was greenlit, at which point Tad Stones helped mold the series into what it was. Most importantly, it was the last film Walt Disney himself had even the smallest bit of involvement in whatsoever, as the earliest plans for it began two years before his death.

It was followed up by a theatrical sequel in 1990, becoming the only non-anthology Disney animated film to receive a sequel in the Recap/DisneyAnimatedCanon until ''WesternAnimation/WreckItRalph'' and ''WesternAnimation/{{Frozen}}'' thirty years later. For tropes related to that film, please visit ''WesternAnimation/TheRescuersDownUnder''.

What makes the movie interesting in a RealLife sense is how it came during a time when Disney was facing changing fortunes. The film was almost a reflection of how the Disney company was facing up to the death of [[Creator/WaltDisney its founder]] -- the late-'70s Disney movies tended to be considerably darker than their forebears, reaching a nadir with the next movie, ''WesternAnimation/TheFoxAndTheHound''. These movies both contained utterly gut-wrenching examples of ParentalAbandonment. And Madame Medusa's casual nastiness towards Penny in this film ("What makes you think anyone would want a homely little girl like you?") comes up against the more outlandish behavior of any Disney villain in history simply because as a verbal shiv, to a freaking ''child'', it has no equal. On the technical side, this film was the first Disney animated film to move away from the hard scratchy outline look that was the norm for Disney animation since ''WesternAnimation/OneHundredAndOneDalmatians'' thanks to an upgrade in the studio's xerography inking process, enabling the use of softer colored linework on finished animation. The film's crew likewise reflects the studio's increasing integration of new talent, marking a more distinct break with its Walt-produced output than ''WesternAnimation/TheAristocats'' or ''[[WesternAnimation/RobinHood1973 Robin Hood]]''. While [[UsefulNotes/DisneysNineOldMen members of the "Nine Old Men"]], such as Wolfgang Reitherman, Milt Kahl and [[DiedDuringProduction John Lounsbery]] continued to helm much of the film's storyboarding and animation, this film nonetheless features some of the earliest Mouse-released animation by later Disney Renaissance juggernauts such as Glen Keane and Ron Clements, marking the earliest foreshadowing of the studio's later upswing. Similarly, this film was also one of the few box office successes for Disney in the post-[[Creator/WaltDisney Walt]]/pre-[[UsefulNotes/TheRenaissanceAgeOfAnimation Renaissance]] era, being the highest grossing animated film of all time until one of its directors, Creator/DonBluth, challenged Disney with ''WesternAnimation/AnAmericanTail'' nearly a decade later. In addition, this helped give rise to ''WesternAnimation/ChipNDaleRescueRangers'' due to originally being a series based off the movie until ''Down Under'' was greenlit, at which point Tad Stones helped mold the series into what it was. Most importantly, it was the last film Walt Disney himself had even the smallest bit of involvement in whatsoever, as the earliest plans for it began two years before his death.

It was followed up by a theatrical sequel in 1990, becoming the only Disney animated film to explicitly receive a sequel in the Recap/DisneyAnimatedCanon until ''WesternAnimation/WreckItRalph'' and ''WesternAnimation/{{Frozen}}'' thirty years later. For tropes related to that film, please visit ''WesternAnimation/TheRescuersDownUnder''.

It was followed up by a theatrical sequel in 1990, the only Disney animated film to explicitly receive a sequel in the Recap/DisneyAnimatedCanon until ''WesternAnimation/WreckItRalph'' and ''WesternAnimation/{{Frozen}}'' thirty years later. For tropes related to that film, please visit ''WesternAnimation/TheRescuersDownUnder''.

It was followed up by a theatrical sequel in 1990, the only Disney animated film to explicitly receive a sequel in the UsefulNotes/DisneyAnimatedCanon until the release of ''WesternAnimation/RalphBreaksTheInternet'' in 2018. For tropes related to that film, please visit ''WesternAnimation/TheRescuersDownUnder''.

It was followed up by a sequel in 1990. For tropes related to that film, please visit ''WesternAnimation/TheRescuersDownUnder''.

What makes the movie interesting in a RealLife sense is how it came during a time when Disney was facing changing fortunes. The film was almost a reflection of how the Disney company was facing up to the death of [[Creator/WaltDisney its founder]] -- the late-'70s Disney movies tended to be considerably darker than their forebears, reaching a nadir with the next movie, ''WesternAnimation/TheFoxAndTheHound''. These movies both contained utterly gut-wrenching examples of ParentalAbandonment. And Madame Medusa's casual nastiness towards Penny in this film ("What makes you think anyone would want a homely little girl like you?") comes up against the more outlandish behavior of any Disney villain in history simply because as a verbal shiv, to a freaking ''child'', it has no equal. On the technical side, this film was the first Disney animated film to move away from the hard scratchy outline look that was the norm for Disney animation since ''WesternAnimation/OneHundredAndOneDalmatians'' thanks to an upgrade in the studio's xerography inking process, enabling the use of softer colored linework on finished animation. The film's crew likewise reflects the studio's increasing integration of new talent, marking a more distinct break with its Walt-produced output than prior film. While [[UsefulNotes/DisneysNineOldMen members of the "Nine Old Men"]], such as Wolfgang Reitherman, Milt Kahl and [[DiedDuringProduction John Lounsbery]] continued to helm much of the film's storyboarding and animation, this film nonetheless features some of the earliest Mouse-released animation by later Disney Renaissance juggernauts such as Glen Keane and Ron Clements, marking the earliest foreshadowing of the studio's later upswing. Similarly, this film was also one of the few box office successes for Disney in the post-[[Creator/WaltDisney Walt]]/pre-[[UsefulNotes/TheRenaissanceAgeOfAnimation Renaissance]] era, being the highest grossing animated film of all time until one of its directors, Creator/DonBluth, challenged Disney with ''WesternAnimation/AnAmericanTail'' nearly a decade later. In addition, this helped give rise to ''WesternAnimation/ChipNDaleRescueRangers'' due to originally being a series based off the movie until ''Down Under'' was greenlit, at which point Tad Stones helped mold the series into what it was. Most importantly, it was the last film Walt Disney himself had even the smallest bit of involvement in whatsoever, as the earliest plans for it began two years before his death.

What makes the movie interesting in a RealLife sense is how it came during a time when Disney was facing changing fortunes. The film was almost a reflection of how the Disney company was facing up to the death of [[Creator/WaltDisney its founder]] -- the late-'70s Disney movies tended to be considerably darker than their forebears, reaching a nadir with the next movie, ''WesternAnimation/TheFoxAndTheHound''. These movies both contained utterly gut-wrenching examples of ParentalAbandonment. And Madame Medusa's casual nastiness towards Penny in this film ("What makes you think anyone would want a homely little girl like you?") comes up against the more outlandish behavior of any Disney villain in history simply because as a verbal shiv, to a freaking ''child'', it has no equal. On the technical side, this film was the first Disney animated film to move away from the hard scratchy outline look that was the norm for Disney animation since ''WesternAnimation/OneHundredAndOneDalmatians'' thanks to an upgrade in the studio's xerography inking process, enabling the use of softer colored linework on finished animation. The film's crew likewise reflects the studio's increasing integration of new talent, marking a more distinct break with its Walt-produced output than prior film. While [[UsefulNotes/DisneysNineOldMen members of the "Nine Old Men"]], such as Wolfgang Reitherman, Milt Kahl and [[DiedDuringProduction John Lounsbery]] continued to helm much of the film's storyboarding and animation, this film nonetheless features some of the earliest Mouse-released animation by later [[UsefulNotes/TheDisneyRenaissance Renaissance-era juggernauts]] such as Glen Keane and Ron Clements, marking the earliest foreshadowing of the studio's later upswing. Similarly, this film was also one of the few box office successes for Disney in the post-[[Creator/WaltDisney Walt]]/pre-[[UsefulNotes/TheRenaissanceAgeOfAnimation Renaissance]] era, being the highest grossing animated film of all time until one of its directors, Creator/DonBluth, challenged Disney with ''WesternAnimation/AnAmericanTail'' nearly a decade later. In addition, this helped give rise to ''WesternAnimation/ChipNDaleRescueRangers'' due to originally being a series based off the movie until ''Down Under'' was greenlit, at which point Tad Stones helped mold the series into what it was. Most importantly, it was the last film Walt Disney himself had even the smallest bit of involvement in whatsoever, as the earliest plans for it began two years before his death.

What makes the movie interesting in a RealLife sense is how it came during a time when Disney was facing changing fortunes. The film was almost a reflection of how the Disney company was facing up to the death of [[Creator/WaltDisney its founder]] -- the late-'70s Disney movies tended to be considerably darker than their forebears, reaching a nadir with the next movie, ''WesternAnimation/TheFoxAndTheHound''. These movies both contained utterly gut-wrenching examples of ParentalAbandonment. And Madame Medusa's casual nastiness towards Penny in the first movie ("What makes you think anyone would want a homely little girl like you?") comes up against the more outlandish behavior of any Disney villain in history simply because as a verbal shiv, to a freaking ''child'', it has no equal. On the technical side, this film was the first Disney animated film to move away from the hard scratchy outline look that was the norm for Disney animation since ''WesternAnimation/OneHundredAndOneDalmatians'' thanks to improvements of xerography processing technology to allow a softer look. It was also one of the few box office successes for Disney in the post-[[Creator/WaltDisney Walt]]/pre-[[UsefulNotes/TheRenaissanceAgeOfAnimation Renaissance]] era, being the highest grossing animated film of all time until one of its directors, Creator/DonBluth, challenged Disney with ''WesternAnimation/AnAmericanTail'' nearly a decade later. In addition, this helped give rise to ''WesternAnimation/ChipNDaleRescueRangers'' due to originally being a series based off the movie until ''Down Under'' was greenlit, at which point Tad Stones helped mold the series into what it was. Most importantly, it was the last film Walt Disney himself had even the smallest bit of involvement in whatsoever, as the earliest plans for it began two years before his death.

* AdaptationalExplanation: The movie doesn't exactly explain how Penny couldn't escape with Bernard and Bianca since they made a plan. It's implied but not known that Medusa and Snoops took Penny to the Black Hole before they could enact the plan. Some picture books fix this where Medusa takes Teddy hostage that night, and Penny doesn't want to leave him. Bernard and Bianca then agree to help her find the Devil's Eye so as to get Penny home safely.
* AdaptationalLocationChange: In the original Rescuers books the Prisoner's Aid Society is headquartered in Paris. In this movie [[WesternAnimation/TheRescuersDownUnder its sequel]], the Rescue Aid Society is headquartered in New York City.

* FantasticFireworks: After Penny is recaptured following her escape attempt, Mr. Snoops sets off fireworks that spell out the message "GOT GIRL" to alert Madame Medusa.

''The Rescuers'' is the 23rd entry in the Franchise/DisneyAnimatedCanon. Two mice, Miss Bianca (Eva Gabor) and Bernard (Creator/BobNewhart), travel around the world to "[[SpellingSong R - E - S - C - U - E]]" cute human children while dealing with their own UnresolvedSexualTension. The film was based on [[Literature/TheRescuers a series of children's books by Margery Sharp]]. The main similarities are with the first two books, where an orphan girl called Patience is kidnapped and held as a cleaning slave by a cruel diamond-obsessed Duchess.

* FluffyTamer: Madame Medusa keeps a pair of full-grown alligators as pets. They are probably the only living creatures that she treats with even a hint of respect and care.

* EekAMouse: Madame Medusa is so terrified at the sight of Bernard and Bianca that she ''pulls a gun on them''. This despite having two pet crocodiles.

* ExitPursuedByABear: We last see Medusa [[spoiler: clinging to some wreckage and whining about her lost diamond, while her pet crocodiles keep trying to bite her, making you wonder if she eventually lost her grip and became croc food.]]

* FluffyTamer: Madame Medusa keeps a pair of full-grown crocodiles as pets. They are probably the only living creatures that she treats with even a hint of respect and care.

** It would be criminal to forget Madame Medusa's pet crocodiles Nero and Brutus.

* [[MyCarHatesMe My Swampmobile Hates Me]]: Played for both Laughs and for Drama. Medusa is not a very patient woman, and when she tries to go after Penny, her Swampmobile has trouble starting. The darma part comes into play when Penny has trouble starting it herself.

* NeverSmileAtACrocodile: Brutus and Nero are pretty vicious crocodiles. [[spoiler:Thankfully, they turn on their abusive owner once they've had enough of her.]]

* OminousPipeOrgan: [[AvertedTrope Averted]]. Madame Medusa has a pipe organ in her hideout, but the instrument produces a calliope sound. While she is never seen playing it, her crocodile pets Brutus and Nero must keep playing the organ in order to catch Bernard and Miss Bianca who are taking cover inside an organ pipe. The crocodiles chasing the heroes then eventually destroy it.

* TalkingAnimal: Watching the movie, it would seem to be left uncertain whether anyone other than Penny can actually understand the animals. Notably, the crocodiles don't talk, though.

* UnspokenPlanGuarantee: Zigzagged. Bernard, Bianca, and Penny come up with a plan to bust out and make sure that Medusa and Snoops won't follow them. This includes making sure Bruce and Nero are lured to a cage with the mice as bait, setting off fireworks to distract Medusa, and steal the swampmobile to make a clean getaway. Unfortunately, just as they're about to enact it, Snoops and Medusa make Penny walk to the Black Hole and climb down there for the Diamond. Later, however, the local critters are able to help the plan go off without a hitch when they storm the riverboat to help Penny escape. Each of the steps -- the bait, the fireworks and the swampmobile -- go off with minimal hitches.

* VillainBall: The moment that entirely undoes Medusa's plan to get the Devil's Eye is when she sews it into Penny's teddy bear. This is despite the fact that she was holding the bear hostage to get Penny to cooperate, and Penny is grappling with her to get it back after she delivers the diamond. When Bernard and Bianca successfully trip Medusa and incapacitate her briefly, Penny runs to grab her teddy bear and make an escape as the swamp animals launch their attack on the older woman, who murderously tries to stop the little girl. If Medusa had just handed off the bear, then she would only have to worry about Snoops potentially following her because Penny would have just escaped with Bernard and Bianca back to New York on the swampmobile. As it is, she ends up trapped on her riverboat's pipe with no diamond in hand and her crocs no longer loyal.

* WeaksauceWeakness: Madame Medusa's fear of mice. Especially since she has ''pet crocodiles''.