For every Sabu, Jonny Quest, Alix, or Maya that pairs a "savage" subaltern with a "civilized" white boy or Sabaka that pairs Indians with each other, there are a dozen Mowglis: adaptions of the 1894 Rudyard Kipling classic about a boy raised in the Indian bush who abandons his same-sex chums in search of heterosexual destiny. During the 1990s, they appeared over and over again, forcing upon gay children and teenagers the heterosexist myth that their story, like all stories, must end with a boy-girl kiss.
Karen’s Dad: You’re putting the moves on my twelve-year old daughter!
Karen: That’s not true! I was putting the moves on him!
Leonard Maltin calls it “love of the puppy variety,” but there is an extended kiss (while the music swells), a shot of the two asleep in a hammock, a tearful goodbye when Mimi returns to Amazonia, and then, when the whole cast decides to join him, a a joyous reunion, while everyone else stands around grinning (and the music swells again). Clearly it is heterosexual congress that made a man of Mimi.