The Disney Vault, by its very name, suggests a long and detailed history associated with the company name. For animation junkies and film fans, a detailed accounting of Disney’s past would be more than welcome on the company’s releases of its animated films. Having this kind of information would, perhaps, not complete the entire puzzle, but it would offer more context and insight than we have now. From a financial standpoint, driving up demand makes sense for Disney. But releasing a select group of films–particularly popular ones, at that–on a delayed schedule that the studio doesn’t even stick to anymore suggests that the Disney Vault’s initial construct no longer serves any purpose. We don’t need multiple versions of Snow White on Blu-ray, especially if each one sacrifices a bevy of supplements in the process. We don’t need the Disney Vault anymore. Bob Iger doesn’t need a literal vault in which to swim through his company’s riches, and neither do we.
Smith intersects issues of class and race throughout the novel in order to bring to light the relationship between the two. For example, Kiki's race becomes an obstacle against her ability to fit in with the community and world surrounding her, one that is white, affluent, and educated. The eliteness of the academic world is directly tied to its whiteness, creating a clash between Kiki's racial identity and class identity. Class directly ties into education and race, and this is reflected in the way that the characters of color interact with the predominantly white world that surrounds them. Levi struggles with his mixed race identity and blackness because of the primarily white world of academics that he lives in. Howard and Kiki's family is a combination of stereotypically "white" attributes and those that are stereotypically "black," including physical traits, creating complexities within the family that reflect the complexities within academia and the relationship it has with race and class.