No, the main thing that makes it better is the quality of writing. There's subtext.
In the scene, each character has a goal:
- Mufasa is giving his kid a life lesson and preparing him for his future role, trying to imbue maturity into the future king
- Simba wants to learn about all the cool things he'll get to do when he's older.
Take away the music and visuals, there's character in the dialogue.
When Mufasa says "doing what you want isn't the only thing you get to do when you're king" meaning "it's actually mostly the burden of responsibility" Simba gets really excited because he hears "that's so cool I get to do more stuff I want". Then, instead of getting angry or irritated by his son's immaturity, Mufasa calmly explains some of his responsabilities.
This means that the audience:
1) gets a quick, easy to understand explanation of the world (there's a kingdom, there's a bit outside the kingdom that is dangerous and forbidden with INTRIGUE, the lions rule the kingdom, and Simba is the next king)
2) Gets a feel of Mufasa as a gentle, level-headed responsable king, his priorities are the kingdom's wellbeing and longevity. This will contrast with Scar's characterisation.
3) Gets a feel of young Simba's immaturity, naïveté and selfishness, setting him up to contrast with his adult self so we see his growth.
None of them at any time say "I'm patient" "I'm immature", "I'm the king and one day I will die and then you will be king". They say it in a language that is unique to them, as lions using the sun as their guide, or just in their actions and what they're focusing on.
Your character is supposed to be invested. He doesn't know it's propaganda yet and exposition is never "supposed to be boring". Make it say something about the character with what parts they're focussing on and their reactions. AND THEN at the start cut anything that isn't needed in the next 2 chapters. That means quick and simple explanations of basic concepts that you can then build on and deepen in later scenes when necessary.
