The live-action remakes of classic animated Disney films have been a prominent feature of the company's production slate in recent years, with films such as Cinderella (2015), The Jungle Book (2016), Beauty and the Beast (2017), Dumbo (2019), Aladdin (2019), The Lion King (2019), Mulan (2020), Pinocchio (2022), and Little Mermaid (2023) all being reimagined in live-action form.

Disney's decision to produce so many live-action remakes of their animated classics is driven by a desire to capitalize on nostalgia, with the company recognizing that these films have a built-in audience and can be relied upon to generate significant revenue.

The role of nostalgia in driving Disney's decisions cannot be overstated, with the company's live-action remakes often being designed to evoke a sense of nostalgia in audiences, while also introducing the classic stories and characters to a new generation of viewers.

According to sources, Disney produces live-action remakes as a form of flattery to their animated classics, and as a way to reduce risk and sell familiar stories again.

The company's goal is to create films that give hope and joy, and to combine fresh talent with veterans to build a good foundation.

However, not all of Disney's live-action remakes have been well-received, with some being criticized for prioritizing "political correctness" over storytelling, and for ignoring the original story and character depth.

The Little Mermaid (2023) remake, for example, was criticized for lacking depth in its story and characters, and for prioritizing "political correctness" over storytelling.

Despite this, the remake did feature updated characters and additional songs, and promoted gender equity, diversity, and inclusivity.

The film's CGI was also criticized by some viewers, but the remake did feature a diverse cast, including Jonah Hauer-King as Prince Eric and Melissa McCarthy as Ursula.

In terms of changes to the original stories and characters, the live-action remakes have often made significant alterations, with the goal of adapting the classic tales to contemporary realia.

The Aladdin (2019) remake, for example, updated the character of Prince Eric to be more relatable to Ariel's story, and gave Ariel and Eric more time to bond.

The remake also kept Ariel's curious and passionate personality, but added more depth to Eric's character.

The Little Mermaid (2023) remake also made changes to the original story, including updating the setting to the 1830s Caribbean, and making Ariel 18 years old instead of 16.

The public reaction to the adaptations has been mixed, with some viewers praising the remakes for their updated characters and storylines, while others have criticized them for ignoring the original story and character depth.

Social media has also played a significant role in amplifying negative opinions on the remakes, with some viewers expressing outrage and disappointment at the changes made to the classic stories and characters.

Despite this, Disney shows no signs of stopping its live-action remake production, with the company currently developing remakes of films such as Moana, Lilo and Stitch, and Hercules.

The Hercules remake, for example, is being directed by Guy Ritchie, and will be a loose adaptation of Greek mythology.

The Pinocchio live-action remake is also in production, with a release date set for September 8, 2022.

The Snow White live-action remake, starring Rachel Zegler, has also been criticized for its changes to the original story, with some viewers expressing outrage and disappointment at the remake.

Overall, it is clear that Disney's live-action remakes are driven by a desire to capitalize on nostalgia, and to adapt the classic stories and characters to contemporary realia.

While the remakes have been successful in terms of revenue, they have also been criticized for ignoring the original story and character depth, and for prioritizing "political correctness" over storytelling.

As the company continues to produce live-action remakes, it will be interesting to see how they balance the need to adapt the classic tales to contemporary realia, with the need to remain true to the original stories and characters.

The live-action remakes of classic animated Disney films have been a prominent feature of the company's production slate in recent years, with films such as Cinderella (2015), The Jungle Book (2016), Beauty and the Beast (2017), Dumbo (2019), Aladdin (2019), The Lion King (2019), Mulan (2020), Pinocchio (2022), and Little Mermaid (2023) all being reimagined in live-action form.

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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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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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16

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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19

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

Disney's decision to produce so many live-action remakes of their animated classics is driven by a desire to capitalize on nostalgia, with the company recognizing that these films have a built-in audience and can be relied upon to generate significant revenue.

Title:

Content: Is Disney's Aladdin 2 Still Happening? Star Mena Massoud Remains Hopeful

Disney loves a live-action remake. The House of Mouse has discovered that instead of coming up with new ideas they can simply remake their classic animated flicks into live action. The results have been pretty darn profitable, and the studio shows no signs of stopping — there are currently live-action remakes of "Moana" and "Lilo and Stitch" on the way. One of their successful live-action remakes was the 2019 take on "Aladdin," helmed by — believe it or not — Guy Ritchie. The film was a smash, hauling in over $1 billion worldwide and going on to become the ninth highest-grossing film of 2019.

When you make numbers like that, a sequel can't be far behind. Sure enough, in 2019 the film's producer, Dan Lin, revealed that Disney was in the early stages of developing a sequel. But that's the last we've really heard of the potential follow-up. The live-action "Aladdin" starred Will Smith as the Genie first made popular by the late Robin Williams, while the titular role of Aladdin was played by Mena Massoud. Massoud has seemed to cast doubt about the sequel ever happening at this point. He most recently gave an update on the potential project late last year.

No idea where it's at

Back in March of 2023, Mena Massoud Tweeted that "Aladdin 2" was "Very unlikely at this point." (The Tweet has since been deleted, but the folks at Collider caught it at the time). Then, in December of 2023, Massoud was promoting his horror movie "The Sacrifice Game" when ScreenRant asked him about "Aladdin 2." He replied: "I don't have any updates ... the strike kind of just put everything on hold. I know they were trying to get it off the ground for a long time but I have no idea where it's at." He added:

"Listen, we shot in 2017. It's been six years now since we shot and wrapped the project. So to me, at a certain point, life just goes on. So not really, I'm sure they have their reasons. I know they were trying for a long time. So I don't know what the obstacles exactly were. But maybe now after the strike is over, they'll continue to try to get it off the ground ... But I hope, I hope definitely that it happens in some way."

In other words, it really doesn't sound like this sequel is happening — but you never know.

Other films

A sequel wasn't the only potential "Aladdin" project Disney was said to be working on. In 2019, it was revealed the studio was planning a spin-off film based around Prince Anders, a character played by Billy Magnussen. Disney quickly faced backlash for planning a movie around one of the only white guys in a film filled with people of color, but the studio continued to push forward. In 2022, Magnussen said the project was still in development — but we haven't heard anything about it since.

In 2015, before the live-action "Aladdin" was even made, the studio also announced they were making a prequel movie called "Genies," with the plan being that the film would lead into the live-action "Aladdin." That never happened, and "Genies" was scrapped. At this point, I wouldn't be surprised if the "Aladdin" sequel or the Prince Anders spin-off were both scrapped as well. Despite the smashing success of the 2019 "Aladdin," it feels like too much time has gone by to strike while the iron is hot.

How has Disney leveraged nostalgia in recent years?

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

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

The role of nostalgia in driving Disney's decisions cannot be overstated, with the company's live-action remakes often being designed to evoke a sense of nostalgia in audiences, while also introducing the classic stories and characters to a new generation of viewers.

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Content: 54.5 F
Davis

Davis, California

Saturday, May 4, 2024

Commentary: Unpacking the meaning behind ‘Tangled’ and the Grimm tale it’s based on

Recent casting rumors spark conversation over the popular children’s story

By LORENA ALVAREZ — arts@theaggie.org

Disney holds a track record as one of the leading brands worldwide, but that does not shield the company from backlash. While they are known for their children-oriented animations, their live-action remakes appeal to their older audience. This childhood nostalgia can often lead to an uproar over casting decisions.

While Disney has yet to confirm plans for a live-action “Tangled,” let alone casting decisions, the rumors of a remake have been met with criticism, with some fans voicing their (dis)approval of the fan-casting of Avantika Vandanapu as Rapunzel. In light of the recent controversy, the following is a commentary discussing the meaning behind the Grimm brothers’ original tale and Disney’s “Tangled.”

Although Disney fans picture Rapunzel as a young girl with long golden locks, Rapunzel’s hair and race are not key factors in the overarching message of the story. The original version does not even emphasize her hair color, only mentioning it once in passing. Here, what is of importance is the fairytale’s cautionary tale.

Grimm’s 1812 “Children and Household Tales” version follows a couple who is punished for trespassing into the garden of Frau Gothel, a powerful sorceress. The text warns of the dangers of greed and temptation as a man steals in response to his wife’s “longing” for an edible purple wildflower “belonging to a sorceress who possessed great power and was feared by everyone.”

The acknowledgment that people were not welcome to take from the sorceress’ garden suggests that the couple, although driven by great desire, are in the wrong as they deliberately go behind the sorceress’ back to steal from her.

When the sorceress catches the man trespassing for the second time, she is angered that the man steals from her rather than asking if she could spare some rampion for his pregnant wife.

“How dare you climb over into my garden like a thief, and steal my rampion! It shall be the worse for you!” Gothel said in the story.

The message encouraging people to be truthful as well as grateful is further emphasized at the end of the tale, where Gothel cuts Rapunzel’s beautiful locks after discovering that her “daughter” has also betrayed her.

“I thought I had hidden thee from all the world, and thou hast betrayed me!” Gothel said.

As the story concludes with Rapunzel reuniting with the king’s son after living “in great woe and misery” as their punishment, the household tale warns children against disobeying their guardians and giving into temptation.

While Grimm’s version teaches children to be loyal and ask before taking things from people, Disney’s adaptation is a modernized take exploring the good that can come from taking risks and believing in oneself.

“Tangled” follows Rapunzel as she takes agency over her life that has been stolen from her by Mother Gothel and helps Flynn Rider, a thief, redeem himself by helping her leave the tower. For those unfamiliar with the story, Rapunzel dreams of leaving the tower in hopes of seeing the yearly lanterns that cover the sky on her birthday.

The iconic song “When Will My Life Begin? (Reprise 2)” depicts Rapunzel’s struggle to overcome her fears and explore the scary world that she believes Gothel has been protecting her from.

“Look at the world so close and I’m halfway to it,” Rapunzel sings. “Look at it all, so big, do I even dare? Look at me, there at last, I just have to do it […] here I go.”

The animation pairs these lyrics with a scene of Rapunzel cautiously pausing before stepping on the grass, and leaving her tower’s safety (and isolation). Through this, the scene highlights the fear and anxiety she must overcome to make her dream of leaving the tower a reality.

As she demands that Rider take her to see the lights, the script stresses the importance of taking an active role in the direction of one’s own life.

“You will act as my guide, take me to these lanterns, and return me home safely,” Rapunzel said. “Then, and only then, will I return your satchel to you.”.

Thus, classics like Rapunzel’s story play an important role in teaching young impressionable people valuable life lessons — both Grimm’s and Disney’s versions warn against theft, but the latter’s version adapts the story to encourage agency and bravery. While there is a lot of controversy over whether adaptations are better than the originals, taking a popular story and adapting it to meet modern audiences can oftentimes do more good than harm.

Written by: Lorena Alvarez — arts@theaggie.org

How has Disney leveraged nostalgia in recent years?

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

According to sources, Disney produces live-action remakes as a form of flattery to their animated classics, and as a way to reduce risk and sell familiar stories again.

Title:

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.

According to John Musker, why does Disney rely on live-action remakes rather than producing new stories?

As a risk-reduction strategy
As a safer option

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

The company's goal is to create films that give hope and joy, and to combine fresh talent with veterans to build a good foundation.

However, not all of Disney's live-action remakes have been well-received, with some being criticized for prioritizing "political correctness" over storytelling, and for ignoring the original story and character depth.

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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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According to John Musker, what should Disney prioritize in its remakes?

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?

The Little Mermaid (2023) remake, for example, was criticized for lacking depth in its story and characters, and for prioritizing "political correctness" over storytelling.

According to John Musker, what should Disney prioritize in its remakes?

What approach makes Disney's classics successful according to John Musker?

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

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

Despite this, the remake did feature updated characters and additional songs, and promoted gender equity, diversity, and inclusivity.

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Content: It’s possible that being an only child was one reason I was not exposed to the phenomenon of Disney princess worship during my youth. On the other hand, the lack of a coordinated merchandising effort during the 1970s probably had much more to do with the fact that the company’s princess lineup wasn’t yet emerging as a cultural trend.

In that decade, Disney focused most of its marketing on the so-called “Sensational Six” core characters, including Mickey Mouse, Minnie Mouse, Pluto, Goofy, Donald Duck, and Daisy Duck; along with product tie-ins to the 1977’s “The Many Adventures of Winnie the Pooh.”

Of course, Disney had only made three princess movies up to that time. Those included 1937’s “Snow White and the Seven Dwarfs,” 1950’s “Cinderella,” and 1959’s “Sleeping Beauty.” Following the introduction of Aurora in 1959, Disney would make moviegoers wait 30 years for the next princess to arrive in a film that would herald the start of the Disney Renaissance.

And that film was 1989’s “The Little Mermaid.”

Written and directed by John Musker and Ron Clements, the 28th Disney animated feature film was very loosely based on the 1837 Danish fairy tale of the same name by Hans Christian Andersen. It boasted a string of memorable songs that brought imbued the production with Broadway panache. Alan Menken wrote the score, and collaborated with Howard Ashman on the songs. The film scored three Academy Award nominations, winning two for Best Original Score and Best Original Song for “Under the Sea.”

The animated film featured the voices of Jodi Benson, Christopher Daniel Barnes, Pat Carroll, Samuel E. Wright, Jason Marin, Kenneth Mars, and Buddy Hackett.

Buoyed by the success of “The Little Mermaid,” the Disney Renaissance ran from the late 1980s to the late 1990s and unleashed a series of critically and commercially successful animated films. Of the 10 films considered part of this period, five were Disney princess films. By 2000, the list of Disney princess included Snow White, Cinderella, Aurora, Ariel, Belle, Jasmine, Pocahontas, and Mulan. Andy Mooney, a former Nike executive who had been named president of Walt Disney Company's Disney Consumer Products division, saw an opportunity. He pitched the Disney Princess franchise line — and a generation of children became entranced consumers.

More than 20 years have gone by since the end of the Disney Renaissance and the official launch of Disney’s Princess Line. These days, Walt Disney Pictures is focused on making live-action adaptations of its animated films. The latest of these is “The Little Mermaid,” directed by Rob Marshall from a screenplay written by David Magee. The film was released theatrically on May 26.

When evaluating a remake, adaptation, or reinterpretation of a classic film, one must consider not only the quality of the new film, but also how it compares to the original. It’s not enough to ask if the film entertaining and well executed. One must also determine what makes the remake valuable in its own right.

“The Little Mermaid” is set in the 1830s in the Caribbean. Ariel (Halle Bailey), youngest child of King Triton (Javier Bardem), lives in an underwater kingdom. Disney wisely mentions in its synopsis of the film that Ariel is 18 years old — not 16, as she was in the animated version.

Unlike her older sisters, Ariel is defiant and rebellious. She is captivated by a world beyond her reach, defying her father’s orders to study humans and collect their possessions from shipwrecks. She is often joined in this endeavor by her aquatic companions Flounder and Sebastian (voiced by Jacob Tremblay and Daveed Diggs, respectively); as well as by the birdbrained Scuttle (voiced by Awkwafina), a seabird whose understanding of human culture is amusingly erroneous.

When a sailing ship she has been watching is destroyed in a storm, she rescues Prince Eric (Jonah Hauer-King). When Triton learns Ariel interacted with the surface world, he goes on an overprotective father rampage, destroying her collection of bric-a-bracs, baubles, and curios while reiterating his mandate that she should not indulge her inclination to learn, explore, or meet new people. Ironically, Prince Eric’s adoptive mother, Queen Salina (Noma Dumezweni) places similar constraints upon him because she is fearful of the outside world and of losing her son.

Desperate to be reunited with Prince Eric — who she is in love with despite the fact that the two haven’t even actually met at this point — Ariel turns to Triton’s evil sister Ursula (Melissa McCarthy), a scheming sea witch who sees this as an opportunity to oust Triton and take power over all the world’s oceans. Ursula strikes a deal with Ariel, giving her legs in exchange for her voice. There’s a catch: If Ariel fails to receive true love’s kiss from Eric before the end of three days, she will become Ursula’s property. To make sure Ariel fails, Ursula also causes her to forget about needing to score that kiss.

That’s just the setup. If it seems a bit drawn out, imagine how it feels watching it on the screen. With a runtime of 2 hours and 15 minutes — 53 minutes longer than the 1989 animated version — it sometimes feels like we’re treading water. One wonders if, in a post-pandemic world filled with ADHD brains, kids can manage to maintain focus on this narrative that meanders its way from scene to scene without a sense of urgency. Sebastian and Flounder know that there is a looming deadline, but in this version of the story, Ariel has been robbed of that knowledge. In the animated version, she at least had a specific objective. She actively worked toward that goal. In this version, she is a starry-eyed young woman crushing on someone she barely knows, drifting dreamily between infatuation and limerence.

Because it is both a retelling of a classic fairy tale and a redesign of a beloved Disney property, the film suffers from a pronounced scarcity of creativity and originality. There are updates to the story, changes in individual characters, and a few additional songs. Some of these facelifts work, such as the addition of Queen Salina. Some of these addendum fall flat, such as Eric’s song “Wild Uncharted Waters,” written by Lin-Manuel Miranda. Miranda’s song “The Scuttlebutt,” performed by Awkwafina and Diggs, is a more palatable add-on, despite that fact that it is jarringly different tonally from other music in the film.

All the film’s flaws and miscalculations can be forgiven by its most impressive saving grace: Bailey’s performance is as remarkable as it is enchanting. Bailey stands out again and again in the murky, sketchy CGI undersea sequences, glowing with charisma and agency. She brings the magic that is noticeably lacking in elsewhere in the film, balancing the nostalgia of childhood memories with a contemporary attitude. She carries this film on her shoulders, filling it with a sense of wonder and awe that will inspire children to seek out unexplored horizons and work toward achieving their dreams.

Mind you: I’d prefer Ariel did not have to literally transform — for a man — to be deemed successful. This version somewhat mitigates that theme. Personal transformation is fine when prompted by a desire to become a better person, while self-change enacted strictly to please an individual or a group is unwise and unhealthy.

The film also features recurring examples — both subtle and palpable — that show gender equity, diversity, and inclusivity are beneficial to society. These are the very same principled concepts extremist legislators and ultraconservative judicial officials currently vilify as “woke,” as if being socially aware, compassionate, and empathetic has somehow become objectionable. If you ascribe to that mindset, you should probably skip this movie.

The bottom line is “The Little Mermaid” may not be as artistically inspired as the animated version, but a standout performance by Bailey keeps the film afloat. It frequently captures the kinetic energy of a Broadway stage production, delighting audiences both with signature songs and newly added sequences that enhance the story and the characters. It is consistently entertaining, with sporadic moments of dazzling brilliance.

If you don’t trust an old curmudgeon to properly evaluate a Disney Princess film, I’ll share a few points my 16-year-old daughter made.

According to B.C. Zumpe, the film’s CGI could have been better. She particularly enjoyed a scene in which Ariel and Eric are dancing in a village near his castle, while a Caribbean band plays.

“Some people want all the characters to look exactly like the originals,” she said. “It wouldn’t be fair if Disney excluded Halle just because of her skin color. They chose her for her voice and her spirit. Even if you’re only upset because she looks different from the Ariel you grew up with, you can’t expect them to keep everything the way you want it.”

My daughter also felt that Awkwafina did a good job in voicing Scuttle. She appreciated how the film promoted the idea that it is good to interact with other cultures and be open to new ideas.

She’s a good kid.

Photo courtesy of DISNEY

Halle Bailey stars as Ariel and Jonah Hauer-King as Prince Eric in “The Little Mermaid.”

Photo courtesy of DISNEY

Melissa McCarthy stars as Ursula in “The Little Mermaid.”

How does Peter Pan and Wendy enhance inclusivity?

The film's CGI was also criticized by some viewers, but the remake did feature a diverse cast, including Jonah Hauer-King as Prince Eric and Melissa McCarthy as Ursula.

What criticisms did the live-action Little Mermaid face from reviewers?

In terms of changes to the original stories and characters, the live-action remakes have often made significant alterations, with the goal of adapting the classic tales to contemporary realia.

The Aladdin (2019) remake, for example, updated the character of Prince Eric to be more relatable to Ariel's story, and gave Ariel and Eric more time to bond.

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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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The remake also kept Ariel's curious and passionate personality, but added more depth to Eric's character.

The Little Mermaid (2023) remake also made changes to the original story, including updating the setting to the 1830s Caribbean, and making Ariel 18 years old instead of 16.

The public reaction to the adaptations has been mixed, with some viewers praising the remakes for their updated characters and storylines, while others have criticized them for ignoring the original story and character depth.

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Content: Home Movies

Thought the brand of hatred Brie Larson suffered for ‘Captain Marvel’ is over? Well, version 2.0 is here

'The Brie Larson Treatment' comes for another performer with the gall to have opinions.

Image via Marvel Studios

Social media, am I right? What started out as a means for the world to communicate instantly, bringing people together from across the planet, has since metamorphosed into that slime from Ghostbusters 2 that feeds on anger.

And now we’re stuck, knee-deep in a bog of the loudest opinions, all being digitally shouted by everyone that never figured out their internet inside voices. We’ve been here for a while. We all know what it looks like. Arguably, it all boiled over around the time that Captain Marvel came out.

That’s when Brie Larson became angry-boy-Twitter’s favorite place to drag their knuckles, thanks to the way she voiced outlandish opinions like “I don’t have to smile when strangers tell me to” and “I should get treated the same as my male co-stars” and, if we’re being honest, mostly because she was a pretty lady on the internet who wasn’t going out of her way to make strange dudes feel like she’d love to meet them for coffee sometime and really get to know them. The rage was ubiquitous. You couldn’t swing a dead flerken on Twitter without hitting six burner accounts telling Larson how to be an actress.

But that was what, four years ago? We’ve probably moved on as a species, right? If nothing else, I’m sure Twitter has become a more thoughtful public square since Elon Musk took over – I can’t do it, sorry. I’m kidding. Everything is still the exact same kind of bad, only this time the boys are mad about princesses, actress Rachel Zegler playing Snow White in the upcoming live-action to be precise.

The ghost of Brie Larson’s past is making the rounds on Twitter again

The latest target for social media’s putridity is Rachel Zegler, star of Disney’s upcoming live-action adaptation of Snow White. In a recent interview with Variety, Zegler discussed some of the changes that the new film would make to its story – specifically, the lead character is driven by a desire to lead now, she is “not going to be saved by the prince and she’s not going to be dreaming about true love.”

The merits of Disney remakes aside, they’re changes that make sense. As Zegler puts it, storytelling has changed since 1937. People don’t pay to see feature-length movies about women eating fruit, taking naps, and being awoken by non-consensual kisses anymore. But not everyone agrees.

What happened next will shock you, especially if you just now got your America Online disk and you’re logging onto the internet for the first time: People got mad. Tikitok and Twitter sprayed their musk all over the story, calling Zegler’s takes “pseudo-feminism” and accusing her of “single-handedly destroying this movie.” The rhetoric was hyperbolic. It was acidic. It was, you know, Tuesday. Eagle-eyed viewers noticed a pattern.

There’s a lot that stings about the story. It’s rough, knowing that film Twitter might never stop being a free box of megaphones for everyone with a one-way brain filter and a “No Girls Allowed” sign on their bedroom door. It’s also a little bit gutting to know that conversations about live-action Disney adaptations are always going to swing back around to accusations of surreptitious political agendas and the formation of parasocial disgust targeted at opinionated female performers.
Like, these remakes (mostly lacking originality) are often pretty bad on their own merits, guys. Maybe focus on arguments that actually hold water.

About the author

Tom Meisfjord

Tom is an entertainment writer with five years of experience in the industry, and thirty more years of experience outside of it. His fields of expertise include superheroes, classic horror, and most franchises with the word "Star" in the title. An occasionally award-winning comedian, he resides in the Pacific Northwest with his dog, a small mutt with impulse control issues.

How did audiences react to the 2020 Mulan live-action remake?

Some positive reactions praising both changes and additions

Social media has also played a significant role in amplifying negative opinions on the remakes, with some viewers expressing outrage and disappointment at the changes made to the classic stories and characters.

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

Despite this, Disney shows no signs of stopping its live-action remake production, with the company currently developing remakes of films such as Moana, Lilo and Stitch, and Hercules.

How has Disney leveraged nostalgia in recent years?

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

The Hercules remake, for example, is being directed by Guy Ritchie, and will be a loose adaptation of Greek mythology.

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Following Aladdin, Guy Ritchie Has Scored Another Live-Action Disney Remake

After all the commercial success Disney live-action movies have racked up, it wasn’t a question of if there’d be a next one, it was when. And the House of Mouse has just lined up an exciting new remake from the director of 2019's Aladdin, Guy Ritchie. It looks like the filmmaker is on board to go the distance and helm the live-action Hercules

Back in 2020, it was announced that Disney was developing a live-action Hercules project, with Avengers: Endgame directors Joe and Anthony Russo attached. Per a Deadline report, the Russo brothers are set to produce the movie, and Guy Ritchie will take the reins on adapting the Greek mythological tale Disney originally tackled in 1997.

Disney is reportedly in the process of finalizing the script for the Hercules remake after Dave Callaham, writer behind Shang-Chi and the Legend of the Ten Rings, Wonder Woman 1984 and The Expendables, wrote the movie’s first draft. The rest of the details are thin on the upcoming Disney movie otherwise, but previously Joe Russo said he and Anthony have a “strong emotional connection” to the original movie and want to “build it out” beyond the vision of the animated classic.

Guy Ritchie initially become known for his contemporary comedic crime films like Snatch and Lock, Stock and Two Smoking Barrels, but he has also branched out to blockbuster action films like 2009’s Sherlock Holmes, 2015’s The Man From U.N.C.L.E. and Aladdin with Disney. His first live-action film with Disney was a massive success, nabbing over $1 billion in box office revenue. The movie received mixed reviews from critics, but moviegoers enjoyed the movie overall, with the movie receiving an A CinemaScore.

Disney's original Hercules was written by Ron Clements and John Musker, who had previously written The Little Mermaid and Aladdin for Disney. The animated musical included original music from Alan Menken, who wrote a lot of the music for Disney movies in the ‘90s. Hercules is, of course, a loose adaptation of Greek mythology featuring the son of Zeus, who becomes a hero on Earth.

1997's Hercules memorably featured musical muses, who narrate the story through song. Ahead of the live-action movie finding Guy Ritchie, a number of talents have placed their name in the running to be a muse including Jennifer Hudson, Amber Riley and Lizzo. Previously when word of the live-action Hercules remake first was announced, fans also got passionate about making sure Danny DeVito reprises the role of Phil

As the live-action Hercules finds momentum behind the scenes, there are a number of other Disney remakes coming our way before we see “Zero To Hero” in live action. Before the end of the year, Pinocchio and Peter Pan & Wendy are expected to join other Disney+ movies, and a live-action The Little Mermaid will hit theaters on May 26, 2023. We’ll keep you posted here on CinemaBlend as we learn more about these nostalgic Disney projects.

YA genre tribute. Horror May Queen. Word webslinger. All her writing should be read in Sarah Connor’s Terminator 2 voice over.

How has Disney leveraged nostalgia in recent years?

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

The Pinocchio live-action remake is also in production, with a release date set for September 8, 2022.

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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.
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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

The Snow White live-action remake, starring Rachel Zegler, has also been criticized for its changes to the original story, with some viewers expressing outrage and disappointment at the remake.

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Content: Snow White director’s son calls Disney remake a “disgrace”

Disney

The original Snow White director’s son has slammed the upcoming Disney remake as “insulting” and a “disgrace.”

Disney has recently recreated several of its classic films into live-action adaptations. Past examples include The Little Mermaid, Dumbo, and Pinocchio. However, these recreations have generated backlash for various reasons.

For example, Halle Bailey’s role as Ariel wasn’t universally agreed upon. This is due to haters complaining that the princess should have been white like in the 1989 animated movie.

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Now, the upcoming remake of Disney’s Snow White starring Rachel Zegler has been under fire for its controversial portrayal of the seven dwarves among other reasons. Here’s what the son of the original Snow White director had to say about the film.

Son of Snow White director criticizes upcoming Disney remake

In an interview with The Telegraph, David Hand, who worked as a Disney designer in the 1990s, admitted his negative feelings toward the Snow White remake. Hand’s father, also named David, served as one of the directors of the 1937 film.

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“It’s a whole different concept and I just totally disagree with it, and I know my dad and Walt would also very much disagree with it,” 91-year-old Hand said. He continued by calling the movie a “disgrace” and discussed Disney’s “radical thoughts.”

“They’re making up new woke things and I’m just not into any of that. I find it quite frankly a bit insulting [what] they may have done with some of these classic films,” Hand remarked. “There’s no respect for what Disney did and what my dad did. … I think Walt and he would be turning in their graves.”

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The Snow White remake has finished filming and is scheduled to premiere on March 22, 2024. Other Disney live-action projects in the works include Lilo & Stitch, Moana, and Mufasa: The Lion King.

You can find out more about Zegler’s Snow White controversy here.

Related Topics

How has Disney leveraged nostalgia in recent years?

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

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

Overall, it is clear that Disney's live-action remakes are driven by a desire to capitalize on nostalgia, and to adapt the classic stories and characters to contemporary realia.

How has Disney leveraged nostalgia in recent years?

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

While the remakes have been successful in terms of revenue, they have also been criticized for ignoring the original story and character depth, and for prioritizing "political correctness" over storytelling.

According to John Musker, what should Disney prioritize in its remakes?

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

Worldwide revenues exceeded one billion dollars

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

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

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

As the company continues to produce live-action remakes, it will be interesting to see how they balance the need to adapt the classic tales to contemporary realia, with the need to remain true to the original stories and characters.

How has Disney leveraged nostalgia in recent years?

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