101 Dalmatians II: Patch's London Adventure (2003)
Directed by Jim Kammerud
No — 101 Dalmatians II: Patch's London Adventure is not woke, scoring 0 out of 100 on our wokeness meter.
Released in 2003 as a direct-to-video follow-up to a film that had premiered forty-two years earlier, 101 Dalmatians II: Patch's London Adventure concerns a small dog with a spot over his eye who feels lost among his ninety-nine siblings and longs to be singular.
Consciousness Markers
The voice cast and characters are predominantly white and non-human; no deliberate diverse or inclusive casting choices are present.
No LGBTQ+ characters, relationships, or themes appear in the film.
Female characters exist (Perdita, Nanny, Cruella) but the film advances no feminist agenda or gender-equity commentary.
The film contains no exploration of race, racism, or racial identity.
No environmental or climate-change themes are present.
Cruella's fur obsession is villainous vanity, not a critique of capitalism or wealth inequality.
Rolly's appetite is played for comedy, not as a body-positivity statement.
No neurodivergent characters or themes are depicted.
The film is a fictional animal adventure with no historical revisionism.
The story is a light adventure comedy and does not preach or lecture on social issues.
Why it received this score
Released in 2003 as a direct-to-video follow-up to a film that had premiered forty-two years earlier, 101 Dalmatians II: Patch's London Adventure concerns a small dog with a spot over his eye who feels lost among his ninety-nine siblings and longs to be singular. He is left behind on moving day, befriends a German shepherd television star named Thunderbolt, and eventually rescues his family from a woman in a car. That is the whole of it. The plot proceeds with the tidy efficiency of a studio fulfilling a distribution obligation, and the result is a film that asks nothing of its audience beyond ninety minutes of passive attention.
The cultural inventory here is remarkably bare. Cruella de Vil wants a coat made of puppies, which the film treats as the behavior of a wealthy eccentric with a personality disorder, not as an indictment of consumption, fashion, or the fur trade. Rolly is overweight and eats a great deal; the film finds this funny and moves on. Lars, a French artist, paints spots and may harbor feelings for Cruella, and the film declines to make anything of it. Nanny, a woman of a certain age, hits a man with a frying pan. None of this is framed as commentary. It is simply the furniture of a children's adventure.
What remains is a curiosity from a commercial era that no longer exists, when a studio could make a modest sequel, ship it straight to VHS, and attach a PlayStation game to it. The film is pleasant, forgettable, and entirely innocent of the ideological commitments that now accompany even the smallest animated release. We are left to classify it, and classification yields a clean sheet.
Analysis generated by our Consciousness Algorithm
Synopsis
Being one of 101 takes its toll on Patch, who doesn't feel unique. When he's accidentally left behind on moving day, he meets his idol, Thunderbolt, who enlists him on a publicity campaign.
Questions about 101 Dalmatians II: Patch's London Adventure
Is 101 Dalmatians II: Patch's London Adventure woke?
No — 101 Dalmatians II: Patch's London Adventure is not woke, scoring 0 out of 100 on our wokeness meter. That earns it a verdict of Ultra Based.
Does 101 Dalmatians II: Patch's London Adventure have any woke elements?
No. All 10 markers score zero.
How does 101 Dalmatians II: Patch's London Adventure compare to other 2003 movies?
It ranks #131 of the 150 films from 2003 we've scored; their average is 12. The wokest is Mona Lisa Smile (60).
How is the Woke Score calculated?
An AI-assisted process researches the film and its reception, scores it 0–100 on ten markers, then combines those into one 0–100 Woke Score. It measures a specific set of 2020s cultural themes, not film quality.