In the past decade, Disney has actively produced live-action remakes of animated classics 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 The Little Mermaid (2023).

These films are rooted in the strategic aim to reduce market risk and capitalize on the strong nostalgia and global recognition of their intellectual properties.

Financial incentives are significant—The Lion King (2019) alone earned nearly $1.6 billion worldwide, while remakes like Beauty and the Beast and Aladdin also saw robust box office success .

Nostalgia is central, but Disney adapts storylines and characters to align with contemporary norms.

Beauty and the Beast (2017) presented a more assertive, bookish Belle with expanded agency and backstory, while adding an openly gay character to further inclusivity.

Aladdin (2019) reimagined Jasmine as politically astute and determined to lead, supported by a new solo number that expresses her self-determination.

Mulan (2020) foregrounded themes of self-discovery and female empowerment, removing the original’s love interest and comic side characters in favor of cultural sensitivity and epic storytelling.

Costume and character design—such as Mulan’s battle attire or Ariel’s more realistic wardrobe—reflect shifts toward authenticity .

Disney balances authenticity with modern relevance by retaining the emotional and visual core of original films while systematically updating content in response to evolving cultural priorities.

Internal strategies include building diverse creative teams, robust dialogue over adaptation choices, and the Reimagine Tomorrow initiative emphasizing inclusive, respectful narratives.

Jennifer Lee of Walt Disney Animation Studios describes a process that blends veteran experience with new creative perspectives on a case-by-case basis, prioritizing both legacy and present-day resonance .

In the past decade, Disney has actively produced live-action remakes of animated classics 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 The Little Mermaid (2023).

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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."
Extended reading
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"You made Johnson the Boulder look like Beckham," the wax image, the skin color, the deliberate whitening... he cited the little mermaid infarction controversy.
Rachel Zengler in "Snow White" was accused of not being white enough "Little Mermaid" to support her: the perfect princess
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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", and what has been described as "the Renaissance".
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How has Disney leveraged nostalgia in recent years?

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

These films are rooted in the strategic aim to reduce market risk and capitalize on the strong nostalgia and global recognition of their intellectual properties.

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Content: A new part of The Lion King.
The story of Mufasa as you never knew it.
About five years after the release of The Lion King in 2019, Disney is offering a live-action version of the film, Mufasa: The Lion King, a new story that takes audiences back to the familiar tale of the film, as Simba explores the history of his father, Mufasa, and his father ’ s relationship with his younger brother. Reer Scar.
The film also comes on the 30th anniversary of the original Lion King, released in 1994, as part of Disney ’ s experiments in turning animated films into reality, such as Cinderella, The Mermaid, and Aladdin.
It is a safe strategy to ensure a financially successful product, without risking capital in new experiences that may not generate revenue.
The film is expected to be released on May 5, 2024.
Simba explores the history of Mufasa
The first real-life version of The Lion King in 2019 grossed nearly $1.6 billion worldwide.
The new version of The Lion King is expected to surpass the previous film because it explores an old story never presented before, while retaining all the reasons for the success of the original film, the story of the evil brother "Scar" and his relationship with his brother "Mufasa", a focal point in the main film, and the audience always wondered about the causes of the great evil inherent in the character "Scar".
Disney is looking to make an artistic epic, or a series of films as a result of the film ’ s manifold story, which carries more than one story, especially if its makers can find clues to the stories, because despite the worlds of Disney and its large production of films, it has never produced a major series like Star Wars, for example, and the story of the Lion King can be the beginning of movie series, especially as it moves narrative between the past and present....
Heroes of the New Story
The film was officially announced by Barry Jenkins, and Jeff Nathanson, the screenwriter of The Lion King (2019), completes his role as the writer of the new work "Mufasa".
Genghis said that there are many familiar characters will appear in the next film, and that the version will include new stories about the characters that the audience knew and associated with, and the story will go back in time with the heroes, to know the audience history and how they became what they are in the end, as the film tells how "Mufasa" came out of a modest life to reach the top of power, after he was a young cub roaming alone in life.
The film includes some changes to the voices of the heroes from the previous film, where the voice of young "Mufasa" will be performed by Aaron Pierre, while the voice of Mufasa was provided in the previous film, and in the older film of 1994 James Earl Jones.
Familiar voices that won ’ t change include John Kanye, who will cast Mandrel Reviki, Billy Eichner, who will cast Timon, Seth Rogan, who will cast Pumbaa, Kelvin Harrison, Jr., who will cast Scar, and Beyoncé, who will cast Nala.
Why is Disney bringing back the old stories?
Although audiences on social media complain about reproducing Disney ’ s classics, the box office always favors reproducing the classics, and there are many reasons for audiences to watch animated films in their real-life versions, including the attraction of old fans and the desire of the new generation to explore the modern context of the tale.
From here, such films have a double audience, especially in that story that touches on fatherhood, family, friendship, love and life. Mufasa remains one of the most famous Disney characters, and did not explore his story as befitting his fame and the story of his sad death in the original film, which separated the audiences against their will.
Source: Al Jazeera + Websites

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

Financial incentives are significant—The Lion King (2019) alone earned nearly $1.6 billion worldwide, while remakes like Beauty and the Beast and Aladdin also saw robust box office success .

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?

Nostalgia is central, but Disney adapts storylines and characters to align with contemporary norms.

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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.

Beauty and the Beast (2017) presented a more assertive, bookish Belle with expanded agency and backstory, while adding an openly gay character to further inclusivity.

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Content: Advertisment

How Disney's The Little Mermaid Live-Action Remake Is Changing the Narrative

Disney's live-action remake of The Little Mermaid has made a significant impact by surpassing the original's box office earnings, offering representation to young girls of color, and standing firm against racist backlash.

BNN Correspondents
New Update

In a world where representation matters more than ever, Disney's live-action remake of The Little Mermaid has set a new benchmark. The film, which grossed over $550 million in global ticket sales, has surpassed the original's box office earnings, making a significant financial and cultural impact. Beyond merely being entertaining, the film has become a beacon of hope for young girls of color, seeing themselves represented in a fantasy world for the first time.

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Reimagining Inclusion in Fantasy

The casting of Halle Bailey as Ariel sparked controversy even before filming began. Detractors used AI to alter her features to resemble a white woman, reflecting a narrow view of what a mermaid, or a princess, should look like. Despite the racist backlash, Disney stood firm, challenging the status quo and reimagining inclusion in fantasy. The film's success underscores the necessity of diversity in storytelling, proving that audiences are hungry for fresh perspectives and narratives that resonate with their own experiences.

Standing Firm Against Racism

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The release of the first teaser at D23 Expo was met with enthusiasm and anticipation. The beautiful shots of Halle Bailey's Ariel in the ocean, accompanied by the iconic Part of Your World, were a powerful assertion of Disney's commitment to diversity. The film, directed by Rob Marshall and released in May 2023, also features Jonah Hauer-King as Prince Eric, Melissa McCarthy as Ursula, Awkwafina as Scuttle, Jacob Tremblay as Flounder, Javier Bardem as King Triton, Daveed Diggs as Sebastian, and Noma Dumezweni in an undisclosed role. Each casting choice was a testament to the company's determination to stand against racist attacks and uphold the importance of representation.

Attending to Details for Authentic Representation

With its Reimagine Tomorrow initiative, Disney is leading the way in promoting diversity and inclusion across its productions. By paying meticulous attention to details, the company ensures authentic and inclusive representation both on-screen and off-screen. The success of The Little Mermaid underlines the significance of these efforts, and the film serves as a potent reminder that stories have the power to inspire change.

In conclusion, the journey of The Little Mermaid offers valuable lessons for leadership and the power of storytelling. It highlights the importance of standing firm against critics, especially in the face of racism. It also emphasizes the necessity to reimagine inclusion in fantasy and the significance of paying attention to details for authentic representation. These lessons are not just applicable to film-making, but are relevant in all fields where leaders have the opportunity to challenge hate and inspire change through their work.

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Aladdin (2019) reimagined Jasmine as politically astute and determined to lead, supported by a new solo number that expresses her self-determination.

Mulan (2020) foregrounded themes of self-discovery and female empowerment, removing the original’s love interest and comic side characters in favor of cultural sensitivity and epic storytelling.

Costume and character design—such as Mulan’s battle attire or Ariel’s more realistic wardrobe—reflect shifts toward authenticity .

Disney balances authenticity with modern relevance by retaining the emotional and visual core of original films while systematically updating content in response to evolving cultural priorities.

Internal strategies include building diverse creative teams, robust dialogue over adaptation choices, and the Reimagine Tomorrow initiative emphasizing inclusive, respectful narratives.

Jennifer Lee of Walt Disney Animation Studios describes a process that blends veteran experience with new creative perspectives on a case-by-case basis, prioritizing both legacy and present-day resonance .


Disney's live-action remakes of its classic animated films from 2015 to 2023 are the result of a strategically coordinated process involving executive leadership, brand management, and adaptive responses to audience and critical feedback.

These remakes—including Cinderella (2015), The Jungle Book (2016), Beauty and the Beast (2017), Dumbo (2019), Aladdin (2019), The Lion King (2019), Mulan (2020), Pinocchio (2022), and The Little Mermaid (2023)—leverage nostalgia and brand familiarity, while aiming to refresh their legacy for new generations and expanded global markets .

The core decision-making process for developing these remakes involves Disney's most senior leadership, such as the Disney Entertainment co-chairs, the heads of the film division, and executives in charge of intellectual property, marketing, and franchise planning.

For each title, teams analyze the historical and current popularity of the original animated film, its merchandising track record, potential for international and multi-generational appeal, and opportunities for synergy across the company—including theme parks, streaming, and merchandise.

Executives like Alan Bergman, who directs film and franchise strategy, and cross-divisional franchise teams, play central roles.

Successful box office results for previous remakes, as well as the titles' continued resonance with audiences, heavily influence which properties are next in line.

Some films are prioritized for their proven franchise or merchandise appeal, while others are developed as tentative updates for potential streaming exclusives .

Disney’s approach to release strategies is multifaceted.

Tentpole features such as Beauty and the Beast, The Lion King, and Aladdin are positioned as theatrical releases to capture maximum box office revenue and stimulate downstream benefits—like increased merchandise sales and theme park tie-ins.

Other remakes, particularly those with less global or commercial reach (e.g., Lady and the Tramp, Pinocchio), are produced as streaming exclusives for Disney+, serving as both family-friendly content and as drivers of Disney+ subscriptions.

While theatrical releases historically yield greater total revenue, streaming-focused projects are fundamental in sustaining franchises and catering to the changing viewing habits of digital-native and global audiences .

There have been major controversies attached to several live-action remakes, reflecting the intensity of public investment in these properties and the evolving standards of representation.

Mulan (2020) encountered international boycotts due to its filming in Xinjiang—amid reports of human rights violations—and public support of Hong Kong police by its lead actress, which alienated segments of both Asian and Western audiences.

The Lion King (2019) faced criticism of its photorealistic CGI, which many viewers and critics believed diminished the emotional expressiveness of the characters compared to the hand-drawn original.

The casting of Halle Bailey as Ariel in The Little Mermaid (2023) triggered heated debates over race and representation; while some opposed the deviation from the original, others praised the move for advancing diversity and opportunity in Hollywood.

Additional debates have arisen concerning LGBTQ+ representation and perceived omissions or changes in the adapted narratives .

Disney executives closely track and analyze audience and critical feedback across multiple channels, including box office data, streaming performance, CinemaScores, Rotten Tomatoes and similar platforms, merchandise performance, and social media sentiment.

When remakes succeed broadly with critics and audiences, as with Beauty and the Beast and Aladdin, this often expedites the development of sequels, prequels, or expanded franchise elements.

Conversely, negative reviews or lackluster performance, as seen with Dumbo or select Disney+ releases, may result in increased scrutiny, reevaluation of development slates, and sometimes the shelving or delay of less promising remakes.

Notably, Disney has reacted to casting and narrative criticism by adjusting its approach in later films—doubling down on diversity after positive feedback, or reconsidering marketing and creative direction in response to backlash .

In adapting classic stories, Disney attempts to achieve a balance between authenticity and relevance.

Changes frequently include aging up central characters, expanding the agency and complexity of female and minority leads, introducing new songs, and foregrounding themes of gender equity, cultural inclusivity, and self-determination.

These choices are shaped by ongoing dialogue with global audiences and a recognition that nostalgia-driven enjoyment must be paired with contemporary values and representation.

The development process is iterative, with creative choices calibrated in real time based on both market and critical outcomes .

Ultimately, the live-action remake initiative is a key pillar of Disney's global entertainment business—driven by a blend of executive planning, nostalgia as a commercial engine, and evolving responses to audience expectations and controversies.

The integration of theatrical and streaming strategies, coupled with a dynamic feedback loop, allows Disney to continuously refine its approach, ensuring that both the legacy and ongoing profitability of its most iconic stories endure.

Disney's live-action remakes of its classic animated films from 2015 to 2023 are the result of a strategically coordinated process involving executive leadership, brand management, and adaptive responses to audience and critical feedback.

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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

These remakes—including Cinderella (2015), The Jungle Book (2016), Beauty and the Beast (2017), Dumbo (2019), Aladdin (2019), The Lion King (2019), Mulan (2020), Pinocchio (2022), and The Little Mermaid (2023)—leverage nostalgia and brand familiarity, while aiming to refresh their legacy for new generations and expanded global markets .

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The four Disney executives who could succeed Bob Iger as CEO in two years

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Walt Disney Co. Chief Executive Bob Iger has prevailed in the company’s shareholder fight against billionaire dissident Nelson Peltz. But the celebrated executive’s most challenging task still looms: selecting someone to fill his big shoes.

The 73-year-old chief is set to retire in 2026 — assuming he steps down as planned.

For decades, succession planning has been among the Burbank giant’s most vexing issues. During Iger’s first, highly successful 15-year run, he delayed his planned retirement multiple times, and potential successors, including former Chief Operating Officer Tom Staggs, left the company in frustration.

Peltz and others pointed to the bungled hand-off to parks head Bob Chapek as proof that Disney’s board of directors, who oversee the succession process, weren’t up to the job. Chapek’s tumultuous tenure lasted less than three years; Iger returned in late 2022 to replace him.

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Peltz’s failed bid to join the board gives Iger and the board some breathing room as they assess candidates to eventually take over the storied company. But shareholders, during the contentious proxy campaign, made it clear that Disney can’t whiff again.

Disney shareholders reject billionaire investor Nelson Peltz, who wanted changes, for a board seat. The hard-fought battle exposed Disney’s challenges.

April 3, 2024

Succession is “the board’s No. 1 priority,” Iger said Thursday during an appearance on CNBC. Leading the process is Disney Chair Mark Parker. The company’s succession committee also includes General Motors Co. CEO Mary T. Barra, Morgan Stanley Executive Chair James P. Gorman and Calvin R. McDonald, chief of Lululemon Athetica Inc. The group met seven times last year to address succession, Iger said, and they “intend to meet even more this year.”

“They are confident they will choose the right person at the right time. And they have some time to do that,” Iger said. “But again, they’re treating it with a sense of urgency because it is so important.”

Disney historically promotes from within, but board members currently are looking at potential external candidates as well as four top executives: Disney Entertainment co-Chair Dana Walden, who oversees television; fellow entertainment co-Chair Alan Bergman, who runs the film studios (Walden and Bergman share oversight of streaming); parks, products and experiences czar Josh D’Amaro; and ESPN boss James Pitaro.

Corporate bake-offs can be fraught. Passed-over executives often depart, and Disney cannot afford to have an exodus of its top talent at such a crucial moment as it tries to transition its television business to streaming. More than a decade ago, Time Warner lost two key executives when it chose from among a trio of Warner Bros. executives to lead that Burbank studio.

Disney’s leading contenders have their own areas of expertise, as well as blind spots. None has the experience of running a $220-billion, multifaceted media and entertainment empire such as Disney. But then again, neither did Iger before he ascended to the throne in 2005.

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Disney executives declined to comment for this story.

Dana Walden, boss of all TV

One of the savviest executives in Hollywood, Dana Walden oversees a vast portfolio of properties and programming crucial to Disney’s legacy TV business and its streaming future. She’s in charge of Disney’s television studios, the ABC network, ABC News, children’s and young adult programming, Freeform, National Geographic, FX, Hulu and Hulu Originals.

Walden arrived at Disney five years ago when the company bought much of Rupert Murdoch’s 21st Century Fox. One of Iger’s motivations for the deal was to boost Disney’s TV executive talent by bringing over successful Fox personnel, including Walden, FX’s John Landgraf and former TV head Peter Rice. The pricey Fox acquisition, while lambasted by Peltz and others, gave Disney a programming arsenal to support its streaming ambitions.

Among the four CEO candidates, Walden may be the most similar to Iger in terms of career trajectory and soft touch with talent. He climbed the rungs of the ABC broadcast network before ascending to Disney’s No. 2 job in 2000. Like Iger, Walden is a skilled manager and polished communicator who instinctively understands creative executives. She has deep relationships with, and the respect of, Hollywood’s producers, writers and other talent. She grew up in Studio City and got her start in television as a publicist (including a stint promoting Arsenio Hall).

Disney’s $71-billion purchase of Rupert Murdoch’s entertainment assets, including ‘The Simpsons,’ ‘Avatar’ and Hulu, has also been a financial burden for the studio, which recently said it would eliminate 7,000 jobs to reduce costs.

Feb. 18, 2023

Walden’s long collaboration with Ryan Murphy (“Glee,” “American Crime Story” and the “Feud” franchise) has proved beneficial as he now is working more closely with Disney following a stint at Netflix. Walden also was instrumental in bringing the Kardashians to Hulu from their cable home on the E! Channel.

She has presided over a revitalization of Disney’s youth programming after a fallow stretch, with the popular “Percy Jackson & the Olympians” and “Goosebumps” — shows that are core to Disney’s family entertainment brand.

The 59-year-old executive could become Disney’s first female CEO. Perhaps the biggest knock on Walden is that she didn’t come up through Disney’s ranks, leading some in the rank and file to question whether enough Mickey Mouse DNA is present in her cells. She’d also have to overcome the perception that she’s “just” a TV exec. That’s not the case, given her streaming purview.

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Alan Bergman, the non-flashy studio chief

At Disney’s core, it all comes back to movies, and it’s been that way since Walt and Roy Disney founded their studio in 1923. To this day, theatrical film drives most other parts of the business, including theme park attractions and toy sales.

As such, entertainment co-Chair Alan Bergman, 58, sits atop an extraordinarily important part of the company, shepherding storied brands including Disney Animation, Pixar, Marvel Studios, Lucasfilm and Searchlight Pictures (known for recent four-time Oscar winner “Poor Things”).

Bergman is a true Disney veteran with a deep and detailed understanding of business and finance, having joined the company in 1996. He was promoted to president of Walt Disney Studios in 2005 and fully took over the division in 2020, succeeding Alan Horn after a period of unprecedented box office success, including hits such as “Avengers: Endgame” and “Star Wars: The Force Awakens.”

He’s not flashy. A UCLA graduate in business economics, Bergman has avoided the spotlight, preferring to let his deputies, such as Marvel’s Kevin Feige and Disney Animation’s Jennifer Lee, take their due credit. Yet he commands the respect of those high-powered creatives and has worked for years with the likes of Peter Jackson, James Cameron and Ryan Coogler.

‘The Marvels’ fell out of the top 10 at the box office after three weekends. The studio has been struggling with quality control, according to some.

Dec. 5, 2023

Bergman, like his counterparts, has his hands full. Lately, the studios have suffered from a number of high-profile flops, including “The Marvels” and “Haunted Mansion.” Even last year’s “The Little Mermaid,” which was hammered by racist online attacks, struggled to achieve the heights of past remakes from the Disney vault. The studios — particularly Marvel — were stretched painfully thin by a mandate to crank out material for Disney+, and that showed in the waning quality of the superhero franchise.

Efforts are underway to get Disney’s all-important theatrical film business back on track. Iger has allowed his division heads, including Bergman, to slow their output and focus on quality over quantity. This year’s Disney slate includes big franchise extensions: “Inside Out 2,” a “Moana” sequel and “Mufasa: The Lion King.”

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Josh D’Amaro, keeper of the Magic Kingdom

To legions of superfans, the charismatic Josh D’Amaro is Mr. Disney. Since joining the company in 1998 in a position at the Disneyland Resort, D’Amaro has steadily climbed the corporate ladder. Under his leadership, the parks have embarked on major capital projects, including new lands such as Star Wars: Galaxy’s Edge and the Avengers Campus.

Today, D’Amaro, 53, serves as chair of Disney Experiences, giving him an expansive portfolio that includes oversight of the company’s theme parks, its famed Imagineering division, Disney’s cruise line and its consumer products (think Baby Yoda dolls and Elsa dresses).

In all, D’Amaro is in charge of 180,000 employees, many of whom are unionized or part time, meaning he’s used to leading large teams and wildly capital-intensive initiatives. The parks are Disney’s biggest profit center, showing he can navigate a massive budget. The “experiences” segment accounted for 60% of Disney’s operating income during the most recent fiscal year. He’s in charge of a roughly $60-billion effort to expand Disney’s parks, a huge bet on live, in-person entertainment.

It’s a challenging, multi-pronged job that comes with hazards. D’Amaro recently had to navigate the fallout over Disney’s nasty feud with Florida Gov. Ron DeSantis over the state’s anti-LGBTQ+ legislation and the former Reedy Creek Improvement District.

Disney and the Central Florida Tourism Oversight District settle a lawsuit over the powers of the special body that controls the land Walt Disney World sits on.

March 27, 2024

But he’s popular with Disney’s enthusiastic and demanding fans, which helps. Disney guests will often stop him in the parks and ask for selfies, or query him about park design decisions. His presentations at Disney fan convention D23 are always well-attended.

One knock against him is his lack of direct experience with film and TV, as his entire career has been in the experiences sector, particularly the parks. There is recent precedent for a CEO coming out of the parks division, though it didn’t work out so well. After all, D’Amaro ascended to his current position after Chapek was named Disney CEO. But D’Amaro has the kind of Disney spark that Chapek never did.

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Jimmy Pitaro, sports supreme

When ESPN Chair Jimmy Pitaro took the reins of the sports cable giant in 2018, he inherited a division beset by shrinking TV ratings while cord-cutting was eroding its ability to reach viewers. ESPN’s hosts were under fire over the political discourse on its talk shows in the wake of President Trump’s 2016 victory.

Pitaro, 54, who previously led Disney’s consumer products and interactive media division, is credited with calming the waters and preparing the network for the future by increasing its digital prowess and growing its social media presence to keep it relevant with younger viewers.

To further that aim, he’s overseeing the launch of ESPN’s long-awaited direct-to-consumer product, which by the fall of 2025 will give consumers access to its full suite of channels, including the flagship ESPN. Ratings at the ESPN cable channel have improved, despite dramatic declines in pay-TV subscriptions.

Pitaro is also credited with repairing ESPN’s relationship with the NFL (whose games are America’s most-watched TV programming), helping to pave the way for a new 11-year media rights deal with the league that gives the company two Super Bowls that will air on Disney’s ABC broadcast network. ESPN has also secured the media rights to its major live events for the rest of the decade, with only the NBA contract — up in 2025 — remaining as its next major test.

There are actually things to talk about in Hollywood other than the WGA and SAG-AFTRA strikes — such as the Disney-Charter deal to end the blackout.

Sept. 12, 2023

That said, sports is a smaller segment within Disney than either entertainment or parks in terms of revenue. It wasn’t long ago that analysts wondered if ESPN would even be part of Disney’s empire for the long term. When Iger seemed to muse aloud about spinning off ESPN, though, Pitaro was said to be a good soldier and didn’t complain.

The idea of cleaving ESPN from Disney no longer appears to be under serious consideration. Iger has begun touting the unit’s strong financial performance again. Though Pitaro is well-liked within the company, he’d be a novice in the Hollywood side of the business. But he’s comfortable with show business types. His wife, Jean Louisa Kelly, is a veteran film actress.

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How has Disney leveraged nostalgia in recent years?

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

The core decision-making process for developing these remakes involves Disney's most senior leadership, such as the Disney Entertainment co-chairs, the heads of the film division, and executives in charge of intellectual property, marketing, and franchise planning.

For each title, teams analyze the historical and current popularity of the original animated film, its merchandising track record, potential for international and multi-generational appeal, and opportunities for synergy across the company—including theme parks, streaming, and merchandise.

Executives like Alan Bergman, who directs film and franchise strategy, and cross-divisional franchise teams, play central roles.

Successful box office results for previous remakes, as well as the titles' continued resonance with audiences, heavily influence which properties are next in line.

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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.”

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

Some films are prioritized for their proven franchise or merchandise appeal, while others are developed as tentative updates for potential streaming exclusives .

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Disney (DIS) Sets Exclusive Theatrical Debut for 2021 Films

Disney (DIS) announces exclusive theater-first debuts for its movies slated for release in 2021, building hopes for cinema chains across the United St...

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This story originally appeared on Zacks

The Walt Disney Company DIS recently announced that its remaining 2021 slate of films will be released exclusively in theaters before being released on the Disney+ streaming platform.

Walt Disney Animation Studios’ Encanto will release on Nov 24 with a 30-day exclusive theatrical window before appearing on Disney+ on Christmas Eve. The rest of the slate will each have a 45-day theatrical release window including The Last Duel (Oct 15), Ron’s Gone Wrong (Oct 22), Eternals (Nov 5), West Side Story (Dec 10), and The King’s Man (Dec 22).

Besides, Disney revealed that Marvel Studios has blocked off four release dates throughout 2024, Feb 16, May 3, Jul 26, and Nov 8. While movies scheduled for release on these dates have not been officially announced, Fantastic Four reboot, Blade and Deadpool 3 could be contenders as they are already in various stages of production.

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Disney’s Cinema-First Release Strategy Builds Hopes for Theater Chains

Disney appears confident that consumers are ready to return to cinemas and that the future of its blockbuster features is on the big screen, despite COVID-19 spikes caused by the Delta variant. Theater chains including AMC Entertainment AMC, Cineworld Plc, and Cinemark Holdings Inc CNK are counting on the big fall and winter releases to attract customers back.

Disney’s decision follows the successful 45-day theater-first releases of Shang-Chi and the Legend of the Ten Rings and Free Guy. Shang-Chi topped $71.4 million in its Labor Day weekend release, the second-biggest opening haul for films released theatrically during the pandemic while Free Guy, from Disney's 20th Century Studios, contractually obligated to be released only in theaters, has grossed $239.2 million globally.

Although the entertainment giant chose to release a series of big productions such as Black Widow, Jungle Cruise, and Cruella on its Disney+ platform simultaneously, the upcoming slate of releases beyond 2021 is encouraging for traditional theater owners.

Although Spider-Man: No Way Home was not included in this list, it will also likely have an exclusive theatrical release.

Among the new movie release dates recently announced, Guillermo del Toro's Nightmare Alley has moved to a wide release on Dec 17 from Dec 3. The Bob's Burgers Movie, based on the animated television series of the same name, will release on May 27, 2022 while Disney's live-action remake of The Little Mermaid will debut in theaters on May 26, 2023.

Other major studios have been closely watching this Zacks Rank #3 (Hold) company to determine whether they should also resume in-theater debuts. You can see the complete list of today’s Zacks #1 Rank (Strong Buy) stocks here.

AT&T’s T WarnerMedia owned Warner Bros inked a deal with AMC earlier this month for a 45-day theatrical window in 2022. It had previously signed a similar agreement with Cineworld. Universal Pictures and its Focus Features were the first to deal, agreeing to a 17-day exclusive theatrical window with AMC back in July 2020.

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Disney’s approach to release strategies is multifaceted.

Tentpole features such as Beauty and the Beast, The Lion King, and Aladdin are positioned as theatrical releases to capture maximum box office revenue and stimulate downstream benefits—like increased merchandise sales and theme park tie-ins.

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?

Other remakes, particularly those with less global or commercial reach (e.g., Lady and the Tramp, Pinocchio), are produced as streaming exclusives for Disney+, serving as both family-friendly content and as drivers of Disney+ subscriptions.

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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.

While theatrical releases historically yield greater total revenue, streaming-focused projects are fundamental in sustaining franchises and catering to the changing viewing habits of digital-native and global audiences .

There have been major controversies attached to several live-action remakes, reflecting the intensity of public investment in these properties and the evolving standards of representation.

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

Mulan (2020) encountered international boycotts due to its filming in Xinjiang—amid reports of human rights violations—and public support of Hong Kong police by its lead actress, which alienated segments of both Asian and Western audiences.

The Lion King (2019) faced criticism of its photorealistic CGI, which many viewers and critics believed diminished the emotional expressiveness of the characters compared to the hand-drawn original.

The casting of Halle Bailey as Ariel in The Little Mermaid (2023) triggered heated debates over race and representation; while some opposed the deviation from the original, others praised the move for advancing diversity and opportunity in Hollywood.

What aspect of Disney's strategy has been questioned due to the mixed reception of The Little Mermaid?

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

Debate over both Ariel's casting and racial representation.

Additional debates have arisen concerning LGBTQ+ representation and perceived omissions or changes in the adapted narratives .

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

Disney executives closely track and analyze audience and critical feedback across multiple channels, including box office data, streaming performance, CinemaScores, Rotten Tomatoes and similar platforms, merchandise performance, and social media sentiment.

When remakes succeed broadly with critics and audiences, as with Beauty and the Beast and Aladdin, this often expedites the development of sequels, prequels, or expanded franchise elements.

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

Conversely, negative reviews or lackluster performance, as seen with Dumbo or select Disney+ releases, may result in increased scrutiny, reevaluation of development slates, and sometimes the shelving or delay of less promising remakes.

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Content: It's Disney+ Day, and as the studio celebrates the second anniversary of its streaming platform, the flood of news continues with the announcement (via Deadline) that a new adaptation of The Spiderwick Chronicles is in development. Based on the children's book series by Tony DiTerlizzi and Holly Black, the Disney+ version will appear as a series on the streamer at some point in the future.

Disney is keeping further details under wraps at the moment. The eventual Disney+ series follows the 2008 film of the same name, which mainly adapted the first book, The Field Guide. The story follows twins Jared and Simon Grace (both played by The Good Doctor's Freddie Highmore in the film) as they move with their mother and sister into an old mansion and discover a book written by a great-uncle named Arthur Spiderwick which functions as a guide to the world of magical creatures around them. They learn that the fearsome shape-shifting ogre called Mulgarath wants to exploit the book for his own nefarious reasons.

Aside from a 2011 video game, the 2008 movie directed by Mark Waters (Mean Girls), remains the sole attempt to adapt the book series. The Field Guide, published in 2003, was followed by The Seeing Stone (2003), Lucinda's Secret (2003), The Ironwood Tree (2004), and The Wrath of Mulgarath (2004). These were followed by a second series of books called Beyond the Spiderwick Chronicles, comprised of The Nixie's Song (2007), A Giant Problem (2008), and The Wyrm King (2009). Should the Disney+ series prove popular, there is clearly plenty of source material to choose from.

RELATED: Disney+ Announces More Content Dropping for Disney+ Day, Including 'Enchanted'

2008's The Spiderwick Chronicles received decent reviews (which specifically praised Highmore's dual performances), but its domestic box office take of $71 million fell short of its estimated $90 million budget. The movie did better overseas, for a combined international total of $164 million. Still, this was evidently not enough for Paramount and Nickelodeon to justify more entries.

There is no shortage of middle-grade and YA content on Disney+, but The Spiderwick Chronicles is a bit more high-profile than many of them. This new adaptation follows the path of Netflix's version of A Series of Unfortunate Events, based on the books by Lemony Snicket. After the 2004 movie starring Jim Carrey failed to launch a franchise, Netflix created a show that ran for three seasons and was much more faithful to the source novels. We'll find out if The Spiderwick Chronicles and the books' standard but entertaining Hero's Journey formula remains popular enough for the new series to breakthrough. Check out the newly released concept art and poster below:

Exclusive 'Silent Night' Images Reveal Keira Knightley's Apocalyptic Holiday Movie

Also starring Matthew Goode, Annabelle Wallis, and Kirby Howell-Baptiste, the film hits theaters and AMC+ on December 3.

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Notably, Disney has reacted to casting and narrative criticism by adjusting its approach in later films—doubling down on diversity after positive feedback, or reconsidering marketing and creative direction in response to backlash .

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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.

What aspect of Disney's strategy has been questioned due to the mixed reception of The Little Mermaid?

In adapting classic stories, Disney attempts to achieve a balance between authenticity and relevance.

Changes frequently include aging up central characters, expanding the agency and complexity of female and minority leads, introducing new songs, and foregrounding themes of gender equity, cultural inclusivity, and self-determination.

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

These choices are shaped by ongoing dialogue with global audiences and a recognition that nostalgia-driven enjoyment must be paired with contemporary values and representation.

The development process is iterative, with creative choices calibrated in real time based on both market and critical outcomes .

Ultimately, the live-action remake initiative is a key pillar of Disney's global entertainment business—driven by a blend of executive planning, nostalgia as a commercial engine, and evolving responses to audience expectations and controversies.

How has Disney leveraged nostalgia in recent years?

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

The integration of theatrical and streaming strategies, coupled with a dynamic feedback loop, allows Disney to continuously refine its approach, ensuring that both the legacy and ongoing profitability of its most iconic stories endure.