Disney's live-action remakes are driven by nostalgia and commercial success.

Disney does not plan animated projects with live-action remakes in mind.

Disney's remakes feature Hollywood stars to attract audiences.

Little Mermaid remake keeps Ariel unchanged but expands Eric's character.

Little Mermaid remake gives Ariel's sisters ruling roles and expands Ursula's motives.

Little Mermaid remake includes Scuttle rapping for comedic effect.

Little Mermaid remake emphasizes romance to resonate with modern audiences.

Little Mermaid faced backlash over Halle Bailey's casting as a Black actress.

Disney released dolls featuring Halle Bailey to showcase Blackness.

Critics argue remakes lack story depth and overemphasize political correctness.

Snow White remake criticized for stereotypes; Disney claims progressive spin.

Snow White remake will cast Rachel Zegler and Gal Gadot; dwarf has a trait.

Peter Pan and Wendy expands Wendy's role and gives Tiger Lily a racist-free portrayal.

Disney's remakes are risk reduction, re-selling familiar content.

Little Mermaid grossed $125M in four-day holiday weekend, 67% Rotten Tomatoes rating.

Disney's remakes often change story and character details to appeal to contemporary audiences.

Disney's remakes have lost box office and reviews compared to original animated versions.

Disney's remakes are motivated by nostalgia selling well.

Disney's remakes are part of a broader trend of turning catalog into live-action.

Aladdin and Beauty and the Beast remakes each grossed over $1B worldwide.

Disney's live-action remakes are driven by nostalgia and commercial success.

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Back to the old: 9 Disney game remakes that are in development right now
As practice shows, nostalgia sells well.
At the moment, Disney is developing a lot of animated remakes, including with live actors.
This is not surprising given the success of the recent rework of their classic animated films.
It seems that Disney will continue to explore the genre and offer unique interpretations of favorite projects.
Peter Pan and Wendy
Release date: 2022
The remake of the new “Peter Pan ” was directed by David Lowry, who previously worked on the film adaptation of“ Pete and his dragon ” in 2016.
It is reported that the shooting of the project has already been completed, but the exact date has not yet been announced.
It is known that the basis of the film “Peter Pan and Wendy ” is the original story about a boy who did not want to become an adult, and the magical country of Neverland.
The exact date of the premiere of the project has not yet been announced, but is expected in the second half of 2022.
Pinocchio
Release date: September 8, 2022
The animated film “Pinocchio ” with live action was shot by Robert Zemeckis according to his own script in collaboration with Chris Weitz.
The Wooden Boy was originally voiced by Benjamin Evan Ainsworth.
Its creator, Gepetto, was played by Tom Hanks.
Also in the remake took part Cynthia Erivo, Luke Evans and others.
The premiere of the fantasy musical is scheduled for September 8, 2022.
Not only Disney: 8 amazing cartoons that are worthy of a game remake
Little Mermaid
Release date: May 26, 2023
About the rethinking of the “Little Mermaid ” rumors have been around for a long time, and after the announcement of the actress for the main role, dark-skinned Holly Bailey, fierce disputes began.
Nevertheless, the film adaptation decided to finish and announced the premiere date - May 26, 2023.
The plot will tell the original story of a mermaid who fell in love with an earthly prince and asked the witch for legs to please him.
The beloved underwater princess in the film adaptation was played by actor John Hauer-King.
Snow White and the Seven Dwarfs
Release date: 2023
The exact date of the premiere of the remake of "Snow White and the Seven Dwarfs" has not yet been announced.
The story is taken from the fairy tale of the Brothers Grimm, and adapted by screenwriter Greta Gerwig.
The project is directed by Mark Webb.
The role of the beauty of Snow White will be played by Rachel Zegler, and the evil witch will be embodied on the screen by the vander woman Gal Gadot.
The premiere is expected presumably in 2023.
Hercules
Release date: not announced
The director of the film adaptation of “Hercules ” will be the author of“ Gentlemen ” Guy Ritchie.
He will direct a full-length film with live actors based on the 1997 cartoon.
The script was adapted by the author of “Shan-Chi and the Legend of the Ten Rings ” Dave Callham.
The cast of the film about the adventures of Hercules on Olympus has not yet been officially announced.
It is reported that the musical accompaniment of the picture will work Alan Mencken, the author of the compositions “The Little Mermaid ”,“ Aladdin ” and other cartoons.
Bambi
Release date: not announced
The film "Bambi" about a deer who is forced to learn to live independently in the forest after the death of his mother, will be created using computer technology.
The story is taken from the eponymous film adaptation of 1942.
Previously, similar technologies were used in the remake of The Lion King by John Favreau.
Genève Robertson-Dworet and Lindsay Beer will be scripted, and the director will be announced later.
The date of the premiere is not yet known.
Hunchback
Release date: not announced
Work began on a reimagining of the cartoon "Hunchback of Notre Dame" in 1996.
The story, taken as the basis of the original and remake, was written by Victor Hugo in the novel “Notre Dame de Paris ”.
The remake will be playable, but the cast has not yet been announced.
Also, the director ’ s chair is not yet occupied, and David Henry Hwang is already working on the script.
The date of the premiere has not yet been announced.
The Sword in the Stone
Release date: December 13, 2024
The 1963 film adaptation based on the legends of King Arthur will also receive a new adaptation.
Directed by Juan Carlos Fresnadillo.
The start of production of the new “Sword in the Stone ” started back in 2018, but due to financial problems it had to be suspended.
It is reported that due to the small budget of the picture, the project will be released exclusively for the Disney + streaming service.
There is no information yet about the actors who will take part in the film adaptation.
The project will be released on December 13, 2024.
Robin Hood
Release date: not announced
"Robin Hood" will get a hybrid version with live actors for the Disney + platform.
In development is a remake of the animated classic of 1976 with director Carlos Lopez Estrada at the head.
CGI technologies will be used in the project.
About the casting, the potential release date and other details are not yet known.
The script will be written by Kari Granlund, who previously worked on the remake of Lady and the Tramps.
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Related video

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

How successful was the 2019 live-action version of The Lion King?

Worldwide revenues exceeded one billion dollars

What motivates Disney to keep producing live-action remakes despite mixed reviews?

Disney does not plan animated projects with live-action remakes in mind.

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Content: Walt Disney Animation Head Jennifer Lee On Setting Up The Next Generation Of Artists [Exclusive Interview]

We're technically in the middle of Disney's centennial celebration, but for the iconic animation studio, the party is just getting started. After news came out earlier this month that nearly 30 restored animated shorts from the Walt Disney Animation Studios vault will be released on Disney+, the studio had a triumphant presentation at the Annecy International Animation Film Festival to reminisce on the past while also looking at the future.

First, the studio presented their latest animated short, "Once Upon a Studio," directed by Dan Abraham and Trent Correy, possibly the most magical thing they've done in years and a short that pays homage to the studio's 100-year-old history, the characters, and the animators that made the studio what it is. Then, audiences were treated to about 20 minutes of "Wish," the upcoming Disney animated musical feature which brings back the Disney villain, and does some cool things with its visuals. That film is directed by Chris Buck and Fawn Veerasunthorn (in her feature directorial debut), and written by Allison Moore and Jennifer Lee, the latter of whom also wrote and co-directed "Frozen" and serves as chief creative officer of Walt Disney Animation Studios.

/Film caught up with Lee shortly after the footage presentation of "Wish," where she talked about the future of Walt Disney Animation Studios, bringing back an actual villain for "Wish," and why animation is so special.

Note: This interview has been lightly edited for clarity and brevity.

'Technology and the artistry are merging'

The short film "Once Upon a Studio" includes a lot of different animation styles, while "Wish" looks different than many Disney films. What sort of experimentation is in store for the studio going into its second century?

Well, what I think particularly with the short and "Wish" is, and I think it's happening across animation, we're finally arriving at that place where technology and the artistry are merging in a way that I think is everyone's dream. I think of the incredible production designer, Lisa Keen, and the painting she did for "Frozen," but then they'd be translated into CG and they'd sort of be degrees away. But now, those paintings, that look, can make it onto the screen. And we've all been working on this for a long time. It's mattered. And with us, we were able to build it on a short scale, but to build it for a feature, we started, I think, when we met with the design team, the dream they said would be to be able to honor those watercolors from "Sleeping Beauty." "Sleeping Beauty" was such an inspiration for "Frozen" in terms of framing, but to get to do it, and we said, "Well, it's our hundredth, we have to have that goal, and they've been working on the technology for years."

I was saying just a couple months ago, we bumped into an issue where we didn't have it lined up to do water. So we had to brainstorm and work together and they figured it out because the scene was too important and they wanted to earn it, and there's nothing like a challenge for a technologist. That's what they want. "What's the next challenge?" So now we're hitting this place, we're going, "Okay, the look can go in many directions. That is so exciting," and it's really going to come down to the identity of the artists themselves coming through more. I think that is the best case scenario.

Building foundations

You talked during the studio presentation about the pairing of fresh talent with veterans, and you yourself were mentored by a veteran of the studio. Why is that important not just at an animator level, but on a key role like a director?

Well, I mean, all of these films are hard. Every one of them is hard to make. One of the things that our veteran filmmakers have is, they've been through it. They've been through a lot. They've had to redo things a lot. They felt the pain of failure, they felt the joy of success, and they have the layers of life. The new generation has talent. I mean, more and more talent out there. And they come in, and to go through your first film, I always say it's going to break your heart a little bit, over and over again, because it's not enough to dream. We all have dreams that we think, "Oh, if we could only make that." You look back at Walt and what it took for him to make "Snow White," and how it almost failed and it was a fight for every frame. There's never a shortcut in every movie.

So with our veteran filmmakers — and obviously you have someone like Eric [Goldberg, veteran Disney animator] who is everything, he is the talent and the years and the fight in him, and we've got an apprentice program that we've formed for the new generation of hand-drawn. And he's not just bringing skill this way, he's bringing those layers of life. To me, none of this is for the faint of heart. I think being creative, you are always vulnerable. So what we can do is build a good foundation and it's just important. For me, that's the big focus of where I want to go from here, is getting those voices that I'm finding so fresh and exciting, but how do you help them succeed? Because that takes more than just talent. [laughs] We all know, it's a fight. So I think that's what I'm most excited about.

'We've wanted to really celebrate a delicious villain for a while'

One thing that was really exciting about the footage was the villain. Why was that important to have in the film, and from your perspective, what makes a great Disney villain?

Yeah. We've wanted to really celebrate a delicious villain for a while. And we've had fun really straying where, I think in life, for a period of time we were exploring how the villain is not always so clear. Sometimes it's ourselves or thematic. But that idea of those villains, and the song, and we love that deliciousness of their evil. [laughs] So the daunting task of creating one, I think what really worked for us with this is we listened to our story artists, we listened to our audience, and people are saying, "I want him not just to be arch, though, I want to know" what we didn't always do, which was tell you why or how did they make those choices? You sort of meet them fully formed and they could be wonderful, but what makes Magnifico different? So we said, "Okay, from the first frame of the film, you're going to feel the journey of this person from the relatable part of ourselves." You get to see, as you saw in a scene when the villain and the protagonists are completely aligned and then you see as their philosophies diverge, you get to watch ... because we never want to say, "Anyone like this will make this choice." It's that this man makes this choice, this woman makes that choice, and it's so fun to watch. And Chris Pine was big on that and it's part of why we wanted to work with him. He's so smart, he holds the character accountable. So it was just so fun to build Magnifico with him, because you couldn't just take anything for granted. So for me, what's been great is getting ... you only saw the first couple of scenes, but getting to that place with him that we think is delicious, but watching him get there has been such a thrill ride for us.

'That did a lot for us in terms of trust'

From a production standpoint, we're three years into the pandemic. How has that impacted the way the studio looks at new projects? Has anything changed in your approach to either the stories you want to tell or the animation pipeline?

I think, in a good way, what we learned about ourselves during Covid was, we built "Raya" and "Encanto" completely [separately]. No one was together and the whole productions were done from home. So I felt like we showed that we understood each other enough and we could carry the same vision from multiple homes. And that did a lot for us in terms of trust. So what we have now is this place where, as people are coming back and this collaboration that it's kind of like we've been through a lot together, so there's no formality, and that makes, for me, I think that makes for a much more wonderful creative space. But I think the big thing is, it's not even about Covid, it's about, as I say, that new generation. I'm more aware than ever of their power and what they can do, but I'm also more aware of that responsibility.

So where I look at is what excites people about storytelling evolves and it's hard when you're getting old to look to yourself. I have certain things I can bring, but it's my job to make sure that I'm spotting that talent and giving them that platform and support and then letting them take it. And I think that's how Eric is helping new generations. That's what we've done that keeps us Disney, is continuing to let that new generation help us evolve, but setting them up for success. So I feel like that has less to do with Covid and just more to do with, here we are. I mean, I've been in this role five years. I've been in the studio 12 years. I came in under 40 and now I'm over 50. So it's time. I think of that. And you hear them banging on the door and they challenge the storytelling, and it's great.

'They're artists. They're not Disney artists. They do work for Disney, but they bring their soul and their tastes come with them'

Serving as both a writer and a producer on "Wish," what was the key element that made this right for the hundredth year celebration?

Well, what I love though is we all started talking as a group, all the directors would get together and we'd meet with story artists and just leave it open and talk about all these fantastical fun ideas. But what kept coming back were certain things — yes, the villain, but this idea of the wishing on stars. That little clip we showed [a montage of Disney characters throughout the years looking at the stars], that was put together before we had the film. Someone just put it together who was inspired to say, "This is something that's a part of us." And you felt it come. Then Chris, he didn't set out to direct it originally, but it spoke to him so clearly. And Fawn, she was such a powerhouse right away.

Then what happened with us is as we were developing the character, Star changed quite a bit. Star originally could talk and took different forms, sometimes human form. And it was really saying, "But that's not what Star is. Star is hope, possibility, wonder — those things don't have the power, they have the power to inspire you." And then I started watching panda bears and how ridiculously funny they were and felt that curious innocence and we said, "What if Star is just that?" And then they said, "You can see this. I think you need to write a draft." And luckily Allison Moore was there in the room every day, but I could come in. But it didn't happen where it was no moment of an order. It was more of, as people were drawn to it and they got it, they just formed the team. And I felt very lucky that, when they asked me to write it and I had no time, but how could I not? It was such an honor.

Disney has always been a studio strong in its traditions, and its recognizability. I'm curious, with something like "Wish," where do you look for pushing boundaries while also keeping those traditions?

All our artists are looking all the time. They're artists. They're not Disney artists. They do work for Disney, but they bring their soul and their tastes come with them, and what they see in the world inspires them. That's great about this industry. Every day there's always buzzes of what's going on. But I think if I look at "Tangled" as a good example of understanding the fairytale, our first sort of CG princess and this nod to the past, but this embracing of this technology, which was a little scary, I'm sure. I wasn't there, so I can only guess. But to say, the approach they took, it kind of showed us where we could go and be more playful. If there hadn't been "Tangled," there would not have been "Frozen." So I'm very grateful that we took some bold steps.

'It's the greatest form of flattery, I guess'

There's been a lot of live-action remakes of Disney movies, both classics and newer ones. From an animation standpoint, does that push you to make visuals more distinct or even just "easier" to adapt? Does it at all affect the mentality going into a new project?

No, I mean, very, very politely, we completely build these independently. We don't think ahead of the live-action. We're honored if it happens. It's the greatest form of flattery, I guess. But I do think, one of the things I love — to me, what defines animation is it is truly transportive in a way that it speaks to your imagination, not to your reality. And so I think in terms of, personally, the looks that I'm inspired by, of where I do feel I'm in a believable world and it feels alive, but it is wholly nothing of our world. It's a place that I can truly escape to. I think that means a lot to a lot of us. So to me, the easy part of it is, if the goal is reality, the technology can go that way. But animation is not about that. What I love about animation is, it starts with a dream and everything is built and the more we can be transported to something we've never seen, the more excited I get.

Lastly, when it comes to "Wish" or any future projects as you are working through development, especially just that first brainstorming phase, what is the balance or even just your personal feelings in terms of wanting to look back at the history of Disney versus looking at what is possible now with new technology and new ideas?

Yeah, yeah. For me, there's not an overall philosophy about it. I do think it's director and artist by artist. And so what we'll do on one film, we won't do on another, and we'll try a whole different ... "Zootopia" and "Wreck-It-Ralph" are nothing like "Frozen." And I think that we'll do that for everything where we take it one film at a time. I think what I always have to trust is what inspires those artists. But I do think when we think about the legacy, to me, there are certain things that I think are wholly Disney, which are films that give hope. Films where you can escape, where you feel like you belong, that you feel that it can become yours. And there's always an element, hopefully, of joy. But we're not afraid to go into deep, dark places. All fairytales do.

But I think that's what we do say is a part of who we are. And I think for so many of us there, it's this thing we share, which is for so much of our lives, starting from our first memories to now, Disney was a place for us to go no matter what was happening in the world, and we could feel this escape. And it was an escape that left you feeling things are possible. I do think that's part of who we are, foundationally, that we all think about. How we get there should be very different each time. And obviously the musicals, the musicals, the musicals, because we love them.

"Wish" arrives in theaters on November 22, 2023.

Disney's remakes feature Hollywood stars to attract audiences.

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A Definitive List of All the Disney Live-Action Films

From Halle Bailey’s Little Mermaid to the live-action Moana to sequels galore.

By Delia Paunescu and Amy Mackelden

Most of us grew up watching Disney movies, and for better or worse, we wondered what it might be like to be a Disney princess. In recent years, Disney has cleverly played into that nostalgia by transforming its classic animations into live-action movies filled with some of Hollywood’s biggest stars. Following the success of big-budget adaptations like Beauty and the Beast and The Lion King, Disney has committed to turning the majority of its animated catalog into cinematic treats. From Angelina Jolie’s star turn in Maleficent to the upcoming live-action version of Moana, fans will be spoiled for choice. Here, we round up all of Disney’s live-action movie adaptations to date, as well as some of the rumors about what’s to come.

1

Maleficent (2014)

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Loosely based on Sleeping Beauty, Angelina Jolie’s wicked witch arrived when lots of evil queens were getting their own feature films (Remember Charlize Theron in Snow White and the Huntsman?). Elle Fanning’s turn as Princess Aurora put her on the map as an A-lister to watch. The film even launched a Maleficent makeup collaboration with M.A.C., which we adored.

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2

Cinderella (2015)

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Disney’s dreamy live action remake of Cinderella cast Cate Blanchett as the evil stepmother, with Bodyguard star Richard Madden playing the Prince. When she landed the title role, Lily James’ most significant part had been as a rebellious cousin on Downton Abbey. Naturally, the fairytale brought James worldwide recognition (and she went on to play young Meryl Streep in Mamma Mia 2).

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3

The Jungle Book (2016)

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The original Jungle Book features some of the best music in Disney’s catalog, so director Jon Favreau’s 2016 live-action remake had a lot to live up to. Newcomer Neel Sethi masterfully took on the part of the boy trying to stay alive with a vengeful Shere Khan hunting him down.

A sequel has reportedly been in the works since Jungle Book was released, with Favreau rumored to be returning as director, according to The Hollywood Reporter.

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4

Beauty and the Beast (2017)

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Few Disney remakes were more anticipated than Beauty and the Beast. It was lavish in its production, starring Emma Watson as Belle and Dan Stevens as an all-too-human Beast. Supporting cast members like Stanley Tucci, Emma Thompson, Audra McDonald, and Ewan McGregor were exceptional as the castle staff.

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5

Christopher Robin (2018)

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Honestly, it feels like this movie came and went without anyone, besides die-hard Winnie the Pooh fans, paying much attention. It’s a shame, really, because Ewan McGregor is endearing in the grown-up title role and the Hundred Acre Woods’ animal pals are as warmly fuzzy as you’d hope.

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6

Mary Poppins Returns (2018)

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Emily Blunt steps into Julie Andrews’ cape and brings the magical nanny to life once more. The Devil Wears Prada darling did a terrific job, and was nominated for a Golden Globe as a result. Anyone who grew up loving the cheerily psychedelic musical numbers is bound to appreciate Hamilton star Lin-Manuel Miranda as lamplighter Jack. As if Mary Poppins Returns couldn't get any better, Meryl Streep, Dick Van Dyke, Julie Walters, and Angela Lansbury are also all in the film.

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7

Dumbo (2019)

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Dumbo remains one of the most upsetting stories in Disney’s roster, and 2019’s live-action remake will give you all of the feels. Directed by Tim Burton and starring Colin Farrell, Michael Keaton, and Danny DeVito, Dumbo re-tells the emotional story of a young elephant with the gift of flight, who finds himself embroiled in some circus drama.

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8

Aladdin (2019)

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Fans were desperate to find out who had been cast in the live-action Aladdin, no doubt because the original movie is so beloved. While Mena Massoud took on the title role, Power Rangers star Naomi Scott transformed into Princess Jasmine. And of course, Will freaking Smith did his very best to fill Robin Williams’ iconic lamp as the Genie.

In 2020, it was revealed that a sequel is in the works, via Deadline. Plus, a spin-off featuring Prince Anders is also in development.

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9

The Lion King (2019)

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The all-star remake of The Lion King might be the most important thing the house of the mouse has done since they released the original Lion King in 1994. This live-action version cast none other than Beyoncé herself as Nala. She stars alongside Donald Glover as Simba, and Billy Eichner and Seth Rogen as Timon and Pumbaa, with James Earl Jones reprising his original role as Mufasa. A sequel (or prequel) is on the way.

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10

Maleficent: Mistress of Evil (2019)

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Angela Jolie and Elle Fanning returned for the follow-up to 2014’s Maleficent. Jolie’s character continues to wrestle with people’s perception of her as a villain, while Princess Aurora receives a marriage proposal, much to Maleficent’s chagrin. Meanwhile, an endangered species known as the Dark Fae start to rise up.

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11

Lady and the Tramp (2019)

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1955’s canine couple du jour were given a live-action/animation hybrid update, which debuted on Disney+ in 2019. Justin Theroux voiced the scampy Tramp and Tessa Thompson played the elegant Lady in this animal romance. Thompson’s BFF Janelle Monáe, and Kiersey Clemons round out the cast of this cute remake.

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12

Mulan (2020)

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Disney casting directors had their job cut out for them with Mulan, reportedly spending a year auditioning nearly 1,000 actresses for the lead. The part ultimately went to Chinese superstar Liu Yifei. Fans finally saw the 31-year-old in full character thanks to this arresting first image. Director Niki Caro told the Hollywood Reporter: “It’s a big, girly martial arts epic. It will be extremely muscular and thrilling and entertaining and moving.” What more do you need to know?

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13

Cruella (2021)

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Anyone else think Cruella was woefully misunderstood? Enter 2021’s Cruella, which tells the story of 101 Dalmatians’ villainous diva before she became, well, fully evil. The inimitable Emma Stone won the lead role, infusing the tale with ’80s punk chic. From the eye-catching costumes to the super cute puppies, Disney’s origin story has everything. A sequel is reportedly in the works.

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14

Pinocchio (2022)

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Pinocchio Trailer #2 (2022)
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Tom Hanks as Geppetto? Say no more. It may be 80 years later, but this live-action remake is just as relevant today as the original was upon its release. Joseph Gordon-Levitt gives a heartfelt performance as Jiminy Cricket, and Pinnochio’s journey to becoming a real boy is brought to life in stunning visuals.

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15

Peter Pan & Wendy (2023)

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There have been numerous adaptations of J. M. Barrie’s iconic story, but Disney promises to delight fans of its 1953 animated classic with the live-action Peter Pan & Wendy. After meeting Peter Pan, Wendy (Ever Anderson) embarks on an adventure to Neverland, where she faces up to Captain Hook. A story that truly never gets old.

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The Little Mermaid (2023)

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Ariel’s story of thirst-trapping Prince Eric, after selling her voice to that glorious diva Ursula in exchange for human legs, is ripe for a remake, especially given the 1998 original’s fishy gender dynamics. Halle Bailey wows in the lead role, with Melissa McCarthy embodying sea witch Ursula. Lin-Manuel Miranda wrote new songs for the flick, alongside Disney musical genius Alan Menken.

The Little Mermaid hits theaters on May 26, 2023.

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17

Snow White (2024)

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Disney is bringing its live-action magic to 1937 animation Snow White and the Seven Dwarfs. While Rachel Zegler will take the lead as Snow White, Gal Gadot has been cast as the Evil Queen. With Greta Gerwig tapped to write the screenplay, we can expect Snow White to be all kinds of wonderful.

Snow White is set to hit theaters on March 22, 2024, per Deadline.

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18

Moana (TBD)

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In April 2023, it was announced that Moana (which was just released in 2016) would be getting the live-action treatment, with Dwayne Johnson reprising his role as demigod Maui. The original voice of Moana, Auli‘i Cravalho, has signed on as an executive producer. Johnson said in a statement, “This story is my culture, and this story is emblematic of our people’s grace and warrior strength.” The release date is currently unknown.

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Lilo & Stitch (TBD)

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A live-action/CG hybrid remake of the supremely adorable 2002 film about a Hawaiian girl and the alien who befriends her was first announced in October 2018. It is being produced by Dan Lin and Jonathan Eirich, who were also tasked with the Aladdin remake. A release date is up in the air but it’s possible this will debut on Disney’s upcoming streaming service. The cast includes Zach Galifianakis, Courtney B. Vance, and newcomer Maia Kealoha as Lilo, per The Hollywood Reporter.

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20

Hercules (TBD)

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In June 2022, Deadline reported that Aladdin director Guy Ritchie had signed on to direct the live-action remake of Hercules. The 1997 animate feature retold the legend of demigod Hercules, who was voiced by Tate Donovan. While details on the remake remain scarce, Hercules is certainly one to watch for Disney fans.

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Delia Paunescu

Delia Paunescu is a writer, producer, and social media consultant based in New York City. She's written for Vulture, Racked, Brooklyn Magazine, New York Post, and amNewYork, among others. Delia also spent two years leading NowThis Entertainment. She'd very much like to shout at you about why Jane the Virgin is the greatest show of all time over on Twitter.

Amy Mackelden is a freelance writer, editor, and disability activist. Her bylines include Harper's BAZAAR, Nicki Swift, Cosmopolitan, Marie Claire, ELLE, The Independent, Bustle, Healthline, and HelloGiggles. She co-edited The Emma Press Anthology of Illness, and previously spent all of her money on Kylie Cosmetics.

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How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

Little Mermaid remake keeps Ariel unchanged but expands Eric's character.

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Content: Filed under:

The Little Mermaid live-action remake actually fixed the right character

The biggest story changes aren’t for Halle Bailey as Ariel

Whenever a new Disney live-action remake of an animated classic comes out, there’s always a hullabaloo about what, if anything, changed from the source material. Specifically, fans question whether the latest remake updates anything to take modern standards into account, or a creator boasts that it does — whether it’s giving LeFou an “exclusively gay moment” in 2017’s Beauty and the Beast or canning the Siamese cat song in 2019’s Lady and the Tramp.

For whatever reason, though, most of the filmmakers behind these projects seem determined to also “fix” the stories’ main heroines — usually losing what made them so appealing in the first place. The most nefarious case in point is Beauty and the Beast’s Belle, a character beloved by young bookworms everywhere. Making her a book-lover wasn’t enough for the 2017 remake, which also turned her into an inventor for some reason — and then did absolutely nothing with that plot point.

But in the case of the new Little Mermaid, director Rob Marshall and screenwriter David Magee actually picked the right character to update.

That isn’t Ariel, who for the most part keeps pretty much the same personality she had in the original, though she certainly gets more moments to flesh it out. Ariel is a beloved heroine, and Marshall and Magee understand what made her so appealing in the original animated Disney film. She’s curious, passionate, and idealistic, and the 1989 movie takes great care to highlight those things, while also embracing her faults, like her absent-mindedness and stubbornness. Halle Bailey’s stellar performance as Ariel in the live-action version bolsters all of those points. Even with some added moments, her Ariel is pretty much recognizable. She isn’t the one who needed to undergo a modern makeover, after all.

The character who really needed a change was Eric.

The original animated Eric is a hero of his era. He meets the minimum requirements to be a Disney Prince, in that he’s handsome and brave, and not much else. In the 1989 film, Ariel sees him on a ship, playing with his dog, and immediately falls in love with him. That’s pretty true to the original Hans Christian Andersen story — not to mention the Disney fairy-tale movies that came before — but in 2023, we need more evidence that this is a man worthy of Ariel’s time, and worthy of her giving up everything to try and be with him.

The 2023 live-action version of Eric, played by Jonah Hauer-King, isn’t just a hunk. He feels restless in his palace, and he wants to explore the world beyond his island nation, but he feels trapped by his mother’s rules. That’s a direct parallel to Ariel’s story, so it makes sense that she would relate to him. Her bargain with Ursula (Melissa McCarthy) is more about her desire to escape her father’s controlling rules about her being in love. (Ariel’s “Daddy, I love him!” line doesn’t make the cut in this version.) There’s a sense of comfort in knowing that there is at least one person on land who would understand her choice to leave the ocean. In Eric, she sees more of a kindred spirit than a soulmate.

The new Little Mermaid also gives Ariel and Eric more time to get to know each other. Instead of the dinner scene where Ariel bungles basic social interaction, now Ariel and Eric bond over Eric’s vast collection of trinkets he found on his adventures. As it turns out, they’re both total nerds when it comes to their interests, and they’re both just squirming to talk about what they love with someone. Ariel still can’t talk because of Ursula, but she’s still an active participant in the interaction, showing Eric a thing or two about his treasures from the sea, and eagerly poring over his maps. All their interactions are fueled by an awkward yet adorable attraction that just makes their romance all the more believable, and worth rooting for.

There are some superfluous changes to the live-action movie that don’t really add anything meaningful. For instance, Ariel’s sisters are rulers of their own seas, not Triton’s decorative choral singers, but they still don’t contribute much to the plot. Ursula has added motives, but that doesn’t come up beyond her introduction. Scuttle the seagull (voiced by Awkwafina) raps for a bit, because sure, why not? If you think too hard about some of the more consequential world-building changes in 2023’s The Little Mermaid, the movie begins to unravel.

But what makes The Little Mermaid isn’t whether the fish look good, or what exactly fuels Triton and Ursula’s feud. It all comes back to Ariel and her journey, which is fueled by the central romance between her and Eric. Just because Ariel falls in love doesn’t mean she’s not a strong and beloved protagonist, and just because Eric is a handsome and dashing prince doesn’t mean he lacks the substance behind that charming smile. By updating their romance, the 2023 Little Mermaid makes the love story more satisfying — and resonant for a new generation.

The Little Mermaid swims into theaters on May 26.

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Little Mermaid remake gives Ariel's sisters ruling roles and expands Ursula's motives.

Little Mermaid remake includes Scuttle rapping for comedic effect.

Little Mermaid remake emphasizes romance to resonate with modern audiences.

Little Mermaid faced backlash over Halle Bailey's casting as a Black actress.

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Content: Up Next

Ariel (center) with other dolls based on characters from The Little Mermaid. Mattel
Style

How red locs on The Little Mermaid shows the ways dolls move from mere representation to authenticity

Dolls aren’t just playthings. They tell a story about how children see themselves.

When the live-action remake of The Little Mermaid was released in theaters recently, there was a predictable, if disheartening, reaction from people upset that the title role was portrayed by a young Black woman. (Because, in real life, uh, cartoon mermaids are never Black?) Overshadowed by that predictable paroxysm of racism was an interesting development in the toy aisle.

To accompany the movie’s release, Disney and Mattel produced a series of dolls made in the likeness of the actress who took on the role of Ariel, Halle Bailey, right down to the head full of red locs cascading down her back.

It’s a small detail, but also one more step in decades of innovations to authentically showcase Blackness in children’s toys.

“I see Black dolls as historical objects,” said Sabrina Thomas, a dean at Duke University whose research focuses on material culture and childhood. “They provide a visual narrative of Black history in America by their presentation, not only their hair, but their coloring, their clothing, their presentation, and how that has evolved over time.”

Thomas’ collection of 900 dolls spans from 1900 to the present day. “When you think about the earliest Black dolls, they were [created] by Black people,” said Thomas. There are few remaining examples of those handmade dolls or rag dolls because their materials deteriorate over time.

There was little movement toward manufacturing Black dolls in the U.S. until after the famous doll choice study by psychologists Kenneth and Mamie Clark. The study was first performed in New York City in the 1930s, and an NAACP team suing to end school segregation asked the Clarks to repeat their study in the South in the 1940s. In a series of experiments, Black children were asked to choose between white and Black dolls. Most of the children not only preferred the white doll but attributed positive attributes to its skin color.

“[The study] catapulted the doll as an object into the consciousness of America as an everyday object that speaks to our racial anxieties in the sense that we can extrapolate children’s understanding of themselves as racial beings and their place in the world,” Thomas said.

“I think it gave a new level of consciousness to the object itself, but we’re still not talking about mastering representation.”

Representation started with two dolls: the Patty-Jo and the Saralee. The Patty-Jo, which was sold from 1947 to 1949, was based on a character created by cartoonist Jackie Ormes, whose work appeared in the Chicago Defender and the Pittsburgh Courier.

“In mid-20th century America, most black dolls represented stereotypes, like mammies, dolls advertised as ‘piccaninnies,’ and raggedy little boys and girls,” reads Ormes’ website. “Jackie Ormes said, ‘No more … Sambos … Just KIDS!’ and she transformed her attractive, spunky Patty-Jo cartoon character into the first upscale American black doll.”

The Saralee, made by the Ideal Toy Corp., was in production from 1951 to 1953. A color jury that included political scientist Ralph Bunche and author Zora Neale Hurston came together to determine the appropriate skin tone for the doll.

Thomas noted that Saralee is significant in doll history because this was the first time the White House got involved in doll production. Ideal agreed to produce the doll after first lady Eleanor Roosevelt advocated for it.

But the company viewed the project mostly as a publicity stunt. The doll’s debut was featured in Life magazine, photographed by Carl Van Vechten. It seems commonplace to think about marketing a doll like this now, but it was unheard of at the time.

Interestingly, Patty-Jo was more popular than Saralee. “I believe it’s because Saralee came out as an actual race doll, if you will,” Thomas said. “They were both Black, but the Saralee doll is making a political statement, and the Ideal Toy Corp. wasn’t that invested in her.”

“Saralee just had so much fanfare around her,” said Thomas. “A Black doll had never been produced with that amount of celebrity or political backing but Ideal didn’t didn’t promote her after that. But Patty-Jo, who’s around the same time, she’s very popular and what Patty-Jo did for Black dolls, I believe that she’s one of the first Black dolls that actually said Black people can be solidly middle-class.”

These dolls appealed to upwardly mobile Black folks looking to impart the idea to their children that, in a phrase that would become more prominent in the Sixties, Black is beautiful. It’s at this point that dolls stopped being simply playthings and became a symbol of progress.

Patty-Jo was advertised as having “playable hair, and the finest and most extensive wardrobe on the market, with all manner of dresses, formals, shoes, hats, nightgowns, robes, skating and cowgirl costumes, and spring and winter coat sets, to name a few.”

“Think of anything that said glamour, she came with it,” said Thomas. “It’s the first time in Black history where we see it so prominent.”

Skip ahead two decades, and another doll, Baby Nancy, reflected the state of Black America. Baby Nancy, a 13-inch baby doll, debuted at the American Toy Fair in 1968.

“Oftentimes when people spoke about Baby Nancy, they said she was the doll born from the ashes of the Watts Riots in 1965,” said Thomas. “The company that produced Baby Nancy, I would say, is a definite turning point in sort of the representation of Blackness in the toy industry.”

In the aftermath of the riots, Louis S. Smith II and Robert Hall worked with civil rights activists and community members to launch Operation Bootstrap, an organization focused on creating social and economic equity. Baby Nancy was designed by Shindana Toys, a start-up within Operation Bootstrap. Mattel provided Shindana Toys with a factory, business loans, and consultants.

Baby Nancy was introduced with a short Afro because Shindana Toys was focused on not just representation, but authenticity, creating dolls with a hairstyle that epitomized Blackness in the 1960s.

And, Thomas said, because Shindana Toys made it clear it wasn’t producing dolls from molds created for white dolls, by the time production shut down in 1983, the company had opened the way for representation for other racial groups and ethnicities.

“The impact they’ve had on the toy industry is that they essentially serve as a test model to prove that Black dolls could be sold, that consumers were interested in Black dolls and not just Black consumers,” said Thomas. “They reported many times that the majority of their dolls were being purchased by white customers.”

Bottom line, she said, it’s because of Shindana Toys that by the 1970s, every major toy company had at least one Black doll line. “This is important because prior to that they were having conversations in the boardroom about whether or not America was really ready for an integrated doll market,” she said.

Growing up, I didn’t want a Barbie or a Cabbage Patch doll. My mother bought me an Addy Walker, Pleasant Co.’s first Black American Girl Doll, which was introduced in 1993. In the accompanying books, 9-year-old Walker escapes slavery with her mother to start a new life in Philadelphia. Her skin looked like mine, her nose resembled mine, and, importantly, so did her hair texture.

When the company was acquired by Mattel in 1998, it was able to add depth to the diversity of American Girl’s offerings. “When I heard Pleasant Co. sold to Mattel, I said, ‘Oh, something is about to happen’ because one thing Mattel is exceptionally good at is accessorizing,” Thomas said, citing the brand’s “create your own” feature. “You can go into American Girl Place and order skin tone 003, request green eyes, and freckles creating a ginger if you want.”

“You can either take her home as-is or you can buy a wheelchair for her. Or you can buy glasses. You can buy a cochlear implant. You can make that doll whatever you need her to be where she represents people in the world.”

Mattel was involved in reimagining Disney Princesses, too. When Disney introduced its first Black princess, Tiana, in The Princess and the Frog in 2009, her character not only told an authentic story about another culture, it reimagined who got to be a Disney Princess.

Like Ariel, Princess Tiana was also brought to “life” in a doll.

A lot of the work that went into creating the Ariel doll started with The Princess and the Frog. Launi King, Disney’s global product design director, spent two years designing the Tiana Disney Ultimate Princess doll.

King said she was honored to work on Tiana because the character is Black and had a close relationship with her father in the film. Also, Princess Tiana’s story was different from some of the other princesses: She wasn’t waiting for her prince to show up before she could live her life. King wanted the work process with the doll’s designers to be different as well.

“I have a vision in my mind of who the character is and how I would like her to be designed but then I also needed to speak to them about when you’re designing a Black doll,” said King. “I needed to have that moment where you get to see the beauty of our curls and our culture and our texture. And so that was one of the first things that I asked for was to really showcase the hair.”

Re-creating Black hair is rarely done in mass-market dolls because of the expense involved in mimicking different hair textures on one head. For instance, the Princess Tiana doll wears her hair sleek and styled into an updo and the Ariel doll’s hair is styled with a mix of locs and straighter hair.

“There’s a machine and it can go in and it puts the hairs in individually into the scalp, but you’re not mixing [textures] because that drives the cost up, and you’re definitely not doing things by hand,” King said.

The next challenge with Princess Tiana was to showcase authentic skin tone and facial features. “African Americans have a colorization that’s beautiful. It has highlights and shadows in the skin,” King said. “So one of the things about us being browner is that the light actually has the opportunity to bounce off of our skin in a way that doesn’t necessarily happen when your skin is very light.

“It’s very important as well to focus on the shape of the nose,” King said but that drives up manufacturing costs: “It is very costly to do a different shaped head on an adult, a different-shaped anything, really, because you pay for a tool and that tool can be anywhere from $25,000 to $100,000 dollars just for you to do one doll.”

She said that the more manufacturing leeway given to create specific features on any particular doll, the higher it will retail. “We want to make sure that the dolls are at a price point where anyone can get it,” said King. “OK, so that could be from $14 to $150, but that $14 one should not feel cheap.”

Companies needed to amortize that cost, making sure they could turn a profit, and King says this is why there was such a lack of authenticity in the beginning. “They would do a Barbie doll and what was happening is she would just be made brown, which meant the color of the plastic changed but it didn’t change the fact that that’s not what our noses are normally shaped like and so we ended up with Caucasian-looking dolls with brown skin,” King said. “And this is where I think we’ve come a long way because companies are investing and making sure that we are represented in the most authentic way.”

Mattel’s latest crop of dolls, created in partnership with Black companies, is working to create the range in authenticity that Thomas mentions.

In 2020, Mattel’s The Black Panther: Wakanda Forever Fresh Fierce Collection by The Fresh Dolls from World of EPI won The Toy Association’s Doll of the Year in 2022. “To be recognized by the entire toy industry, was just … Oh, my gosh. It’s still surreal,” said Lisa Williams, founder and CEO of World of EPI, a multicultural doll company.

Williams didn’t play with dolls growing up — her sister did have “a Black fashion doll with European features, with, like a coat of a deeper, darker tan skin tone, right, which was by no means authentic.” But after seeing a 2010 CNN report that reexamined the conclusions of the doll test and found that many of the same attitudes were still prevalent, she decided she wanted to make authentic-looking dolls for Black children.

At the time, Williams was a professor at the University of Arkansas, teaching executive doctoral and MBA students.

“I’m watching this, thinking by this time, we have beautiful [Black] celebrities on the covers of magazines, we’re being voted most beautiful in the world. Barack Obama was president, we had all of that going on,” Williams said. “This is the advancement I thought I would see but I didn’t.

“Something in me broke because I realized we really hadn’t advanced as far as I thought. I just realized that there was a generation of children who were growing up that didn’t know the beauty and the brains of who they really are,” she said. “That day, sitting on my sofa, I vowed to make a change.

“We are mindful about making sure shades of eye color blend perfectly with the skin tone which blends in perfectly with the lip color and the hair color and the blush color all that has to match and be complementary to you to get a beautiful face,” said Williams.

She said she was naive getting into the toy business but has a compassion for and understanding of why true authenticity historically has not been truly represented. “You have to have a ‘why’ you’re doing it. Because if you don’t, you will kind of settle like, ‘Oh, this is good enough,’ right? And that’s what we’re seeing in the market. It was good enough. The dolls weren’t so horrible when we’d throw the dolls in the trash, right?”

The Walt Disney Co. approached Williams to re-create The Proud Family: Louder and Prouder cast as dolls to celebrate the reboot in February 2022 and in September 2022, this time with Marvel to recreate The Woman King cast in doll form.

“It’s such an honor and we worked very collaboratively. But they really did lean in if we said this isn’t quite accurate or I think we can do better,” said Williams. “Like for Nakia’s character [from The Woman King], she actually had locs, not braids, and locs did not exist in the mass-market before us. Clearly, we could have taken existing braids and just said OK, here it is, but we knew that that’s not authentic.”

Williams knows the difference between a braid and a loc, and she knows the community she’s serving knows the difference, too. “So we went to the drawing board, and we went to the fiber manufacturer to get both a fiber and a technique that’s now patent-pending.

“I’m always thinking about the little girl and little boy playing on the floor. What image do I want them to play with?” she said. “Who are they when they play with that doll? And I want them to see themselves and I want them to envision themselves achieving their dreams and they can only do that, in my opinion, when there’s a great connection with the doll that really resembles them.”

What Williams is saying is a nod to what Thomas sees as the future of doll production: moving beyond racial representation to creating real authenticity.

“That is going to require the toy industry to recognize that there is not just the presence of Blackness, but there is a heterogeneous Blackness out there that they have not figured out how to personify or create into an artifact,” said Thomas.

Channing Hargrove is a senior writer at Andscape covering fashion. That’s easier than admitting how strongly she identifies with the lyrics “Single Black female addicted to retail.”

What controversy did Disney's The Little Mermaid spark globally?

Debate over both Ariel's casting and racial representation.

Disney released dolls featuring Halle Bailey to showcase Blackness.

Critics argue remakes lack story depth and overemphasize political correctness.

Title:

Content: The original "Little Mermaid" director can 't stand it! The real version of the irony: the zoo crab expression is even richer
Reporters Lau Wan-yan / Comprehensive Report
Disney has created countless moving animated films, accompanied by many people to grow up, such as "Snow White", "Sleeping Beauty", "Beauty and the Beast" and other classic films, in recent years, these classic animations have been remade as live-action versions, but Disney has been criticized for pursuing excessive "political correctness", while trying to convey specific ideas, ignoring the story itself. And the depth of the role, deeply criticized by the outside world.
The real version of "Little Mermaid" was criticized.
(Courtesy of Disney)
According to foreign media reports, the director of the "Little Mermaid" and "Aladdin" animation, John Musk, publicly pointed out that Disney should revise the line, focusing on the "entertainment" and "story attraction" of the work, "the concept" should be placed on the secondary, bluntly, "they should revise the line", and added that "it is not necessary to completely put the concept into, but until then, the most important thing is to create the audience. It's a role that captures the eyes of the audience."
[Advertisement] Please continue reading...
The director of the animated version of "Little Mermaid" believes that the live-action version should be more about the relationship between father and daughter.
(Courtesy of Disney)
John Musk emphasized that Disney ’ s classics were never born out of preconceived ideas, but rather immersed the audience in the world built by the story and the characters.
He believes that while it is not necessary to completely abandon the concept, before that, you should first create characters that the audience can feel and feel attracted to.
As for Disney ’ s frequent remakes of old animations into live-action versions, he believes that this is to make the audience like things, and then sell them again, and he obviously does not agree with this practice.
Disney ’ s remake of the classic animation, apart from Aladdin, has a mostly bad reputation. John Musk pointed to the 2023 live-action version of “The Little Mermaid ” and bluntly said:“ They don ’ t put much ink on the story of their father and daughter, that ’ s the core of the whole movie. ” The lions in the Lion King are much richer.
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What approach makes Disney's classics successful according to John Musker?

Immersing audiences in story-driven worlds rather than pushing preconceived ideas.

What controversy arose from Disney's casting and updates in The Adventures of Pinocchio?

Snow White remake criticized for stereotypes; Disney claims progressive spin.

Title:

Content: Peter Dinklage is calling out Disney's remake of Snow White and the Seven Dwarfs.

Late last year, the House of Mouse revealed that Rachel Zegler would play the eponymous princess in an upcoming live-action remake, making her the first Latina to be cast in such a role. However, Disney's decision to remake the 1937 animated film in the first place is now being condemned by Dinklage, especially given the film's branding as a "progressive" remake thanks to Zegler's casting.

On Monday, the Game of Thrones star, who has a form of dwafism called achondroplasia, appeared on Marc Maron's WTF podcast to take Disney to task for even bothering with the story.

“I was a little taken aback when they were very proud to cast a Latina actress as Snow White, but you’re still telling the story of Snow White and the Seven Dwarfs," Dinklage said, adding that while it's "all love and respect" to Zegler, he didn't appreciate the hypocrisy he believed was being demonstrated by Disney.

"Take a step back and look at what you're doing there. It makes no sense to me," Dinklage said. "You're progressive in one way and you're still making that fucking backwards story about seven dwarfs living in a cave together. What the fuck are you doing man?"

He went on to lament, "Have I done nothing to advance the cause from my soapbox? I guess I'm not loud enough."

Not only that, but Dinklage also said that he would've been okay with a remake if the studio had put a "progressive spin on it," which Disney itself has now responded to in a new statement to The Hollywood Reporter.

“To avoid reinforcing stereotypes from the original animated film, we are taking a different approach with these seven characters," a spokesperson said, before mentioning that the studio's been "consulting with members of the dwarfism community" and that it's been cognizant of this since the beginning of production.

"We look forward to sharing more as the film heads into production after a lengthy development period,” the rep continued. Dinklage, however, has yet to respond to Disney's statement.

Photo via Getty / Steven Ferdman

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Snow White remake will cast Rachel Zegler and Gal Gadot; dwarf has a trait.

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Game of Thrones star Peter Dinklage slams Disney’s plan to release Snow White remake

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Game of Thrones star Peter Dinklage hasn’t held back in his comments on an upcoming Disney live-action remake of Snow White.

The new film, to be directed by Mark Webb, will feature West Side Story star Rachel Zegler in the lead role, with Gal Gadot as the Evil Queen.

But Peter, speaking on the WTF podcast this week, slammed the idea of a remake of this particular fairytale, saying it featured a “f***ing backward” depiction of dwarfs.

“There’s a lot of hypocrisy going on,” he said.

‘Makes no sense’

“Literally no offense to anyone, but I was a little taken aback when they were very proud to cast a Latina actress as Snow White.

“But you’re still telling the story of ‘Snow White and the Seven Dwarfs.’

“Take a step back and look at what you’re doing there.

“It makes no sense to me.

“You’re progressive in one way but then you’re still making that f***ing backwards story about seven dwarfs living in a cave together, what the f*** are you doing, man?”

He went on to say that perhaps he hadn’t been “loud enough” in his advocacy for a respectful depiction of people with dwarfism.

“Have I done nothing to advance the cause from my soap box?” he said.

“I don’t know which studio that is but they were so proud of it.

“All love and respect to the actress and all the people who thought they were doing the right thing.

“But I’m just like, what are you doing?”

No specific information has been released on how the characters will appear or be depicted in the new version.

But in Disney’s version of the tale, each dwarf is assigned a singular characteristic - Bashful, Dopey, Grumpy, Happy, Sleepy, Doc and Sneezy.

Peter said he would be happy to see a version with a “cool or progressive” spin on it.

But he reiterated that to retell the traditional story in live-action form “made no sense.”

Disney’s live-action Snow White is set to begin production this year.

The studio has not announced a release date.

Peter Dinklage is set to star in the new film Cyrano, in Australian cinemas from February 24.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

Peter Pan and Wendy expands Wendy's role and gives Tiger Lily a racist-free portrayal.

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“Peter Pan and Wendy ”: a master class on Disney remakes from the author of“ The Legend of the Green Knight ”
Review of Peter Pan and Wendy with Jude Law
On Disney + came the film "Peter Pan and Wendy" - a game remake of the "Disney" cartoon in 1953, filmed by the director of "Legends of the Green Knight" David Lowry.
Film critic "Gazeta.Ru" Pavel Voronkov looked at the tape and tells what a new reading of the fairy tale of James Barry about children who do not want to grow up, Lowry offers.
Wendy Moira Angela Darling (Ever Anderson, daughter of Milla Jovovich and Paul Anderson) starts a new life tomorrow.
But not what her parents had planned for her.
Instead of a boarding school for girls, she and her younger brothers go to Neverland, a magical country where the flying tomboy Peter Pan (debutant of the big screen Alexander Moloney), who refuses to grow up, lives with other Lost Boys (including not only boys) and fights evil pirates under the leadership of Captain Hook (Jude Law).
Game remakes of Disney cartoons - like global warming: bad, but it seems that there is nothing to do.
Unlike global warming, however, Disney remakes have positive aspects, or rather, individual glimpses of something intelligible in the flow of nonsense of varying degrees of monstrosity.
Peter Pan and Wendy, directed by The Legend of the Green Knight director David Lowry, is just one such glimpse.
A few years ago, Lowry already re-shot (quite successfully) for Disney another not the most obvious classic – the fantasy “Pete and his dragon ”.
“Peter Pan ” is a thing, of course, more famous, but still as if not included in the collection of priority hits of the studio: it is not“ The Lion King ”, not “The Little Mermaid ”, not“ Beauty and the Beast ”, not “Aladdin ” and not even“ Mulan ” with “Dumbo ”.
Hence, presumably, some not quite typical for such projects freedom, which Lowry seems to have given when working on the adaptation of the 1953 cartoon (in fact, this is not a remake, but simply a new adaptation of the story by James Barry, starting from the visual images of the “Disney ” tape).
Justifying a return to the original title of the story (as the book was published in 1911 under the title “Peter and Wendy ”), Lowry expands the role of Wendy, endows her with greater subjectivity, and at some point with some power (literal empowerment).
The same order of metamorphosis happens with Princess Tiger Lily (Alice Vapanatank), who ceases to be a racist stereotype and a misogynistic path, and with the Ting-Ding fairy (Yara Shahidi from “The grown-up ”), turned into a witty illustration of deaf male self-admiration, and with the Lost Boys (now it is not only boys, as already mentioned above, they are not only white, plus among them there is a child with Down syndrome, in general, the opportunity to see yourself on the screen appeared in the widest possible range of small viewers).
The main changes here, however, relate to the key male characters (that is, Pan and Hook), so that as a fem-manifesto, "Peter Pan and Wendy" are quite untenable, but in the sense of fairy tales about childhood - with quite unexpected theses - are quite amazing and touching.
Pan is not so great, Hook is not so nightmarish (or at least nightmarish not in the right place), childhood grievances are a terrible thing, and in fact all these questions should be brought to the psychotherapist, but in Neverland with specialists, obviously, it is not enough, you have to squeeze each other out of the light.
What is worth a separate praise - in the end it is a children's fairy tale, that is, no longer faceless and safe in all respects "Disney" hack, but not yet "The Legend of the Green Knight" on the "Disney" cheeks.
Familiar psychedelia Lowry still sometimes includes (quite miraculous movement from London to Neverland, well, and in principle regularly pulls to take a screenshot and press the print button), but "Peter Pan and Wendy" is not replete with meanings and subtexts, digging and deciphering here is especially nothing (at least, not in those quantities), but to be touched and moistened eyes - it easily.
More, perhaps, is not required.
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How does Peter Pan and Wendy enhance inclusivity?

Disney's remakes are risk reduction, re-selling familiar content.

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Content: Alert
Operation Blue Bird continues … 30,000 people surround the Legislative Yuan in the evening to protest against the delay of the Beijie Red Line and the Blue Line for 15 minutes.
“If you can ’ t afford it, don ’ t give birth to me ” … A middle school student laments that his parents will not be able to pay their tuition fees after remarriage.
Mobile signal analysis crowd provoking... Wang Yichuan shouted "Christmas City also did" blue committee exposed the New Taipei City government 's statement
Can't you watch it from your own family?
"Little Mermaid" director points to Disney's problems
Disney has been the first brand of American animation, bringing many beautiful memories to children around the world, including the early years of "Snow White", "101 loyal dogs", as well as described as the "Renaissance" period of "Beauty and the Beast", "Aladdin" and so on.
However, the recent Disney animation or live-action film, there is a big problem: each time in the casting and plot direction of the controversy, many people complain that too much "political correctness", or to put some ideas into the story arrangement, character layout and other basic details are put aside, turned into an alternative "educational film".
With such a big change, audiences can ’ t fail to feel that last year ’ s five most expensive movies, Disney Group accounted for four, even celebrating the centenary of their own animation as “Star Wish ”, both at the box office and in word of mouth have lost.
Recently, the director of "Little Mermaid", "Aladdin", "Hercules", "Treasure Island", "Ocean Strange" and other famous Disney animation director John Musk admitted at the seminar on animation and special effects, video games: "I think they should carry out a part of the course correction, put the concept of the secondary, the entertainment of the film, the story and whether the characters attract people should be more important." "
In John Musk ’ s eyes, the traditional Disney classic is not a concept that you want to put in, but rather an audience into the story and the characters and the world in the film, which he believes should still be the core of the current Disney film, “You don ’ t have to completely put aside the idea of putting in, but before that you have to create characters that the audience can empathize with and feel eye-catching. ”
"He said.
John ’ s past Disney animations also included “The Princess and the Frog, ” the first black princess to be the main character. Even so, he said the film was not built to promote an“ awakening culture, ” although he could understand the criticism.
As for the past few years, Disney has become more and more frequent remakes of old animations into live-action versions, he believes that the film companies are always looking at how to reduce the risk, and when they see that the audience likes something, they are thinking, is there a way to change the appearance and sell it to them again, or even do it better than the last time?
Just a few Disney classic animation remakes, audience word-of-mouth or film ratings are not as good as the original animation, based on their own history, John Musk did not take last year caused a lot of controversy of the live-action version of "Little Mermaid" to open: "They do not ink on the story of the father and daughter, that is the core of the whole movie, and that crab, you can see the real animal in the zoo, They all have a much richer expression than the ones in the movies, and so does the Lion King."
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According to John Musker, why does Disney rely on live-action remakes rather than producing new stories?

As a safer option
As a risk-reduction strategy

Compared to new franchises, what is the risk and return of remakes and sequels?

Lower risk but smaller long-term returns.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

What does Disney's reliance on sequels and spin-offs instead of new IP suggest about its creativity?

A stalling of the company's creative engine.

Little Mermaid grossed $125M in four-day holiday weekend, 67% Rotten Tomatoes rating.

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Content: Disney’s The Little Mermaid is looking to deliver one of the top Memorial Day weekend debuts ever, after grossing $38 million on Friday, including over $10 million from Thursday previews. The live-action remake of the classic animated film is expected to generate $104 million across the traditional three-day weekend, and around $125 million across the extended four-day holiday weekend, coming in ahead of expectations. This beats the $116.8 million that the House of Mouse’s live-action Aladdin remake grossed across the same frame in 2019.

If these estimates hold, The Little Mermaid’s Memorial Day bow will be among the top five of all time, behind Top Gun: Maverick ($160.5 million), Pirates of the Caribbean: At World’s End ($153 million) and Indiana Jones and the Kingdom of the Crystal Skull ($152 million). Directed by Rob Marshall and starring newcomer Halle Bailey in the titular role, The Little Mermaid was produced on a reported budget of $250 million, and is currently tracking to gross around $80 million from overseas markets by Sunday, which should put its global debut above $200 million.

Aladdin legged it to over $1 billion globally, as did the live-action remake of Beauty and the Beast, and considering the top-tier source material, The Little Mermaid has certainly set itself up for a similarly excellent lifetime haul with this debut. The reviews have been mostly positive, with the film currently sitting at a “fresh” 67% rating on review aggregator Rotten Tomatoes and earning an excellent A CinemaScore from opening day audiences. Collider’s own Ross Bonaime called it “one of the rare live-action remakes that manages to capture that Disney magic” in his review.

RELATED: Everything 2023's 'The Little Mermaid' Changes From the Original Disney Classic

Last week’s number one film, Fast X, is eyeing a hefty drop in its second weekend. The 10th installment in the long-running action franchise is continuing to display diminishing returns domestically, despite generating sustained interest in overseas markets. Fast X added $6.3 million on its second Friday, taking its running domestic total to $91 million. By Sunday, the film will pass the $100 million mark stateside, and by Monday, it is expected to hit around $113 million. Globally the film has made more than $500 million, but it still has a long way to go before it can compare with some of the franchise’s top-grossing movies, two of which — Furious 7 and The Fate of the Furious — have made more than $1 billion worldwide.

A Handful of New Releases Opened Low

Disney’s Guardians of the Galaxy Vol. 3 slipped to the third spot after four weekends in the top two. The superhero threequel added $5.4 million this Friday, and is expected to make around $20 million across the weekend. Guardians of the Galaxy 3 had a relatively soft $116 million opening in the first week of May, but it managed to deliver one of the top holds in Marvel Cinematic Universe history in its second weekend. The movie quietly stayed afloat over the next couple of weeks, and will pass $300 million domestically and $700 million worldwide by Sunday. Anything around or above Guardians of the Galaxy Vol. 2’s lifetime haul of $863 million should be considered a win, considering that the movie was marketed as the emotional closing chapter for a beloved trilogy.

The Super Mario Bros. Movie is expected to narrowly claim the fourth spot this weekend, despite being available on digital for a couple of weeks. The mega-hit animated movie added $1.6 million on Friday, and is expected to generate over $8 million across the four-day extended weekend. This should take its running domestic total to $560 million. The sole newcomer to debut in the top five this week is The Machine, starring Burt Kreischer and Mark Hamill. The action-comedy made $2.2 million on Friday, and is expected to gross around $7 million across the extended holiday weekend. Two other new releases — the Gerard Butler action vehicle Kandahar and the comedy film About My Father, starring Robert De Niro — are expected to debut outside the top five.

You can watch our interview with The Little Mermaid star Bailey here, and stay tuned to Collider for more box office updates over the weekend.

What motivates Disney to keep producing live-action remakes despite mixed reviews?

Disney's remakes often change story and character details to appeal to contemporary audiences.

How does Disney's live-action Pinocchio modernize the story according to Robert Zemeckis?

Disney's remakes have lost box office and reviews compared to original animated versions.

How did The Little Mermaid perform compared to past $1B Disney remakes?

What has been the general critical response to most Disney's live-action remakes?

Disney's remakes are motivated by nostalgia selling well.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

How successful was the 2019 live-action version of The Lion King?

Worldwide revenues exceeded one billion dollars

What motivates Disney to keep producing live-action remakes despite mixed reviews?

Disney's remakes are part of a broader trend of turning catalog into live-action.

How has Disney leveraged nostalgia in recent years?

By turning classic animations into live-action films with major stars

Aladdin and Beauty and the Beast remakes each grossed over $1B worldwide.

What motivates Disney to keep producing live-action remakes despite mixed reviews?