Disney has been producing live-action remakes of its classic animated films, such as Cinderella, The Jungle Book, Beauty and the Beast, Dumbo, Aladdin, The Lion King, Mulan, Pinocchio, and The Little Mermaid, in an effort to capitalize on the nostalgia of older audiences while introducing the stories to new generations.

The company's decision to produce live-action remakes is driven by the desire to create new and fresh stories that resonate with modern viewers, while also appealing to nostalgic audiences.

Nostalgia plays a significant role in Disney's decisions to produce live-action remakes, as the company seeks to tap into the nostalgia of older audiences while also introducing the stories to new generations.

Changes have been made to the original stories and characters in the remakes to adapt them to contemporary realia, such as adding more diverse characters and storylines.

The public reaction to the adaptations has been mixed, with some viewers appreciating the fresh takes on classic stories and others feeling that the remakes do not live up to the originals.

Disney's approach to balancing nostalgia with modernity is to take a director and artist-by-artist approach, allowing each project to have its own unique tone and style.

The company's emphasis on realism in its 3D computer-animated films has become stale, and audiences are ready for more visual risks and adventurous forms of animation.

Disney is attempting to reclaim its position in the animation industry with its upcoming film, Wish, which is an original fairy tale musical that combines traditional and digital techniques.

The success of Disney's live-action remakes and animated films depends on the company's ability to balance nostalgia with modernity and create fresh and original stories that resonate with modern viewers.

The live-action remakes have sparked controversy and criticism over issues such as cultural sensitivity, diversity, and representation, with some arguing that the company prioritizes political correctness over storytelling and character development.

Disney's live-action remakes have been successful in terms of box office performance, with many of them grossing hundreds of millions of dollars.

The company's commitment to diversity and inclusion has led to both critical and financial success, with films like Black Panther becoming cultural phenomena and highest-grossing domestic films.

Social media platforms and channels continue to evolve, challenging businesses to adjust social strategies to capture the attention of target audiences.

Disney's approach to live-action remakes is influenced by its business acumen and ability to adapt to changes in the entertainment industry.

The company's legacy is not just its animated stories and characters, but also its history of mergers, acquisitions, and intellectual property rights.

Disney has expanded its brand through various acquisitions, including Pixar, Marvel Entertainment, and Lucasfilm, which has helped it become one of the most significant entertainment companies in the world.

The company's streaming service, Disney+, has contributed to its cultural relevance, especially among younger generations.

Social media platforms like Twitter and TikTok can be breeding grounds for negative and hyperbolic reactions to changes in live-action remakes, such as the upcoming Snow White adaptation.

Actresses like Brie Larson and Rachel Zegler have been targeted with online harassment and criticism for voicing their opinions and being part of live-action remakes.

The backlash against these actresses is often fueled by misogynistic and sexist attitudes, with some critics accusing them of promoting 'pseudo-feminism' or having 'opinions' that are perceived as threatening to traditional gender roles.

Disney's live-action remakes, such as the upcoming Snow White adaptation, are making changes to the original stories to reflect modern values and sensibilities, such as making the lead character more proactive and independent.

The changes made to live-action remakes are often driven by a desire to update the storytelling and make it more relatable to contemporary audiences.

Social media platforms can amplify and distort public opinion, creating a false narrative that a particular remake or actress is widely disliked or controversial, when in fact the criticism may be coming from a vocal but relatively small group of people.

The company incorporates feedback from social media and cultural trends into their decision-making process, as evidenced by their response to criticism from actors like Peter Dinklage.

Disney is actively working to be more inclusive and diverse in their live-action remakes, as seen in their casting choices and efforts to avoid stereotypes.

The casting of Halle Bailey as Ariel in Disney's live-action remake of The Little Mermaid has sparked a mix of positive and negative reactions on social media, with some users celebrating increased representation and others expressing bigotry and bias.

The hashtag #NotMyAriel trended on Twitter, with some users expressing outrage and disgust over the casting of a Black actor in the role of Ariel.

The backlash against the casting decision highlights the ongoing need for fairer representation in media and the impact of lack of representation on people of color.

Disney's live-action remakes can be seen as an opportunity for the company to incorporate diverse perspectives and representation, but also face criticism for relying on Western capitalist gaze and erasing non-Western cultural narratives.

Social media and cultural trends play a role in shaping Disney's approach to live-action remakes, as the company seeks to create content that resonates with contemporary audiences and stays relevant in the global media market.

Disney has been producing live-action remakes of its classic animated films, such as Cinderella, The Jungle Book, Beauty and the Beast, Dumbo, Aladdin, The Lion King, Mulan, Pinocchio, and The Little Mermaid, in an effort to capitalize on the nostalgia of older audiences while introducing the stories to new generations.

Title:

Content: Skip to Content

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)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Disney's Maleficent - Official Trailer 3
Watch on

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.

WATCH ON PRIME VIDEO

2

Cinderella (2015)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Disney's Cinderella Official US Trailer
Watch on

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).

WATCH ON PRIME VIDEO

3

The Jungle Book (2016)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
The Jungle Book Official Big Game Trailer
Watch on

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.

WATCH ON DISNEY+ WATCH ON PRIME VIDEO

Advertisement - Continue Reading Below
4

Beauty and the Beast (2017)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Beauty and the Beast – US Official Final Trailer
Watch on

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.

WATCH ON PRIME VIDEO WATCH ON DISNEY+

5

Christopher Robin (2018)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Christopher Robin Official Trailer
Watch on

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.

WATCH ON PRIME VIDEO WATCH ON DISNEY+

6

Mary Poppins Returns (2018)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Mary Poppins Returns | Official Trailer
Watch on

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.

WATCH ON DISNEY+ WATCH ON AMAZON PRIME

Advertisement - Continue Reading Below
7

Dumbo (2019)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Dumbo Official Trailer
Watch on

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.

WATCH ON PRIME VIDEO WATCH ON DISNEY+

8

Aladdin (2019)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Disney's Aladdin - "Connection" TV Spot
Watch on

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.

WATCH ON PRIME VIDEO WATCH ON DISNEY+

9

The Lion King (2019)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
The Lion King Official Trailer
Watch on

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.

WATCH ON PRIME VIDEO WATCH ON DISNEY+

Advertisement - Continue Reading Below
10

Maleficent: Mistress of Evil (2019)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
MALEFICENT 2: MISTRESS OF EVIL Official Trailer #2 (2019) Angelina Jolie, Disney Movie HD
Watch on

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.

WATCH ON DISNEY+

11

Lady and the Tramp (2019)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Lady and the Tramp | Official Trailer | Disney+ | Streaming November 12
Watch on

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.

WATCH ON DISNEY+

12

Mulan (2020)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Disney's Mulan | Official Trailer
Watch on

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?

WATCH ON DISNEY+ WATCH ON PRIME VIDEO

Advertisement - Continue Reading Below
13

Cruella (2021)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Disney's Cruella | Official Trailer
Watch on

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.

WATCH ON DISNEY+ WATCH ON PRIME VIDEO

14

Pinocchio (2022)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Pinocchio Trailer #2 (2022)
Watch on

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.

WATCH ON DISNEY+

15

Peter Pan & Wendy (2023)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Peter Pan & Wendy | Official Trailer | Disney+
Watch on

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.

WATCH ON DISNEY+

Advertisement - Continue Reading Below
16

The Little Mermaid (2023)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
The Little Mermaid | Official Trailer
Watch on

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.

WATCH THE ORIGINAL ON DISNEY+

17

Snow White (2024)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Rachel Zegler and Gal Gadot on 'Snow White' | D23 2022 | Entertainment Weekly
Watch on

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.

WATCH THE ORIGINAL ON DISNEY+

18

Moana (TBD)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Live-Action Moana Announcement
Watch on

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.

WATCH THE ORIGINAL ON DISNEY+

Advertisement - Continue Reading Below
19

Lilo & Stitch (TBD)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
Lilo & Stitch (2002) Trailer #1 | Movieclips Classic Trailers
Watch on

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.

WATCH THE ORIGINAL ON DISNEY+

20

Hercules (TBD)

This content is imported from youTube. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
1997 Hercules Official Trailer 1 Walt Disney Pictures
Watch on

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.

WATCH THE ORIGINAL ON DISNEY+

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.

Watch Next

Movies & TV 2023

Priya Kansara Went From Health Care to Hollywood

What We Know About 'Red, White & Royal Blue'

Cara Delevingne Joins Kim Kardashian in 'AHS'

Melissa Barrera Knows What She Wants

Advertisement - Continue Reading Below
Advertisement - Continue Reading Below

A Part of Hearst Digital Media

We may earn commission from links on this page, but we only recommend products we back.

©Hearst Magazine Media, Inc. All Rights Reserved.

Privacy NoticeCA Notice at CollectionYour CA Privacy Rights/Shine the LightDAA Industry Opt OutTerms of UseSite Map

How has Disney leveraged nostalgia in recent years?

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

The company's decision to produce live-action remakes is driven by the desire to create new and fresh stories that resonate with modern viewers, while also appealing to nostalgic audiences.

Nostalgia plays a significant role in Disney's decisions to produce live-action remakes, as the company seeks to tap into the nostalgia of older audiences while also introducing the stories to new generations.

How has Disney leveraged nostalgia in recent years?

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

Changes have been made to the original stories and characters in the remakes to adapt them to contemporary realia, such as adding more diverse characters and storylines.

Title:

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?

Tiger Lily avoids stereotype
The Lost Boys are portrayed as diverse
Down syndrome child included

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

The public reaction to the adaptations has been mixed, with some viewers appreciating the fresh takes on classic stories and others feeling that the remakes do not live up to the originals.

Title:

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
Who is the most handsome and beautiful Romeo and Juliet? Leonardo almost matched Natalie
"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
Related News
2 Responses to “Thank You, Brother. ”
A fire broke out in a community building on the 28th floor of Hsinchu City ’ s “Sky Tree ” on the 26th, resulting in the deaths of two firemen, Li Yongzhen and Zhou Lixin. Today (28th) Hsinchu City Fire Department...
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", and what has been described as "the Renaissance".
May Tian Xin said! Donate billions of dollars to Taiwan Kaohsiung, Hualien, Yilan
In May, Ahsin ’ s words, “We Chinese, come to Beijing to eat roast duck, ” set off a rift between netizens on both sides of the Taiwan Strait, and was later poached to donate 9 million yuan (about 40.5 million NT dollars).
Huang Hao Ping shares the first step in fraud prevention
Fraud news layer is endless, accidentally fell into the trap of bad people, "Social Now What" invited artist Huang Hao Ping as a guest host, the first video was invited to the Bureau of Criminal Affairs Prevention Division...
"China has no market" by acid, can not earn RMB Yang Xiuhui counterattack
Recently, many artists have taken the initiative to express their support for mainland reunification of Taiwan, and Yang Xiuhui is shouting "I am Taiwanese", which has won a lot of praise from Taiwanese netizens, but there are also many people who question her in mainland China.
Korea 's first beautiful woman married for 17 years! Certified "love and marriage are not the same"
South Korea 's first beauty Kim Hee-sun' s latest suspense psychological drama "We, Home", partner Bawant film after Lee Hui-ying, about Kim Hee-sun 's famous psychologist "Lu Ying-yuan" is threatened by mysterious people,...
Product recommendation
udn Forum

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

Some positive reactions praising both changes and additions

Disney's approach to balancing nostalgia with modernity is to take a director and artist-by-artist approach, allowing each project to have its own unique tone and style.

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.

The company's emphasis on realism in its 3D computer-animated films has become stale, and audiences are ready for more visual risks and adventurous forms of animation.

Title:

Content: ×
Cookies help us deliver our Services. By using our Services, you agree to our use of cookies. Learn More.

Why Spider-Verse And Mario's Soaring Success Leaves Disney Animation In The Dust

It's a good time to be making movies.

The COVID-19 pandemic brought the film industry to a screeching halt, forcing theatres to shutter their doors as studios shuffled their theatrical slates. With the future of the theatrical model uncertain and studios itching to gain income quickly, potential blockbusters like "Soul" and "The Tomorrow War," which were initially slated for theatrical release, debuted on streaming.

It's now 2023 and the box office is slowly approaching pre-pandemic levels, largely in part due to studios and theatres deciding to work together. However, while films like "Top Gun: Maverick" and "Avatar: The Way of Water" brought audiences back to cinemas, its animated juggernauts like "The Super Mario Bros. Movie" and "Spider-Man: Across the Spider-Verse" which are compelling audiences to stick with the theatrical experience. The success of "Mario" and "Spider-Verse" can't solely be attributed to the fact they're IP. Both films, alongside their contemporaries, are doing something different.

Since theatres returned to capacity, Disney and its subsidiary Pixar's animated footprint has been microscopic when compared to rival studios, with Illumination and Sony Pictures Animation making strides at the box office and in the culture. The House of Mouse's animation division is going through a crisis. In 2019, Disney boasted 3 billion dollar-grossing animated flicks: "The Lion King," "Frozen II," and "Toy Story 4." Since then, no animated flick from the studio has managed to gross over $250 million, with the company debuting two unprecedented bombs with "Strange World" and "Lightyear."

What happened? While others are innovating, Disney has found itself running in place, failing to adapt on several fronts. Through a series of managerial missteps and uninspired decisions, Disney Animation has quietly handed its throne over to the players who were once playing catch-up.

Super Mario is the simple family-friendly adventure that millions wanted

When it comes to box office supremacy, it's Illumination that's at the top. With its crowd-pleasing stories and eye-popping visuals, the Universal-backed studio has managed to create three inoffensive billion-dollar franchises with "Despicable Me," "Sing," and "The Secret Life of Pets." While critics might label their films as safe, they're known quantities for families and children who want to be whisked away for 100 minutes or less.

With "The Super Mario Bros. Movie," they've delivered their biggest hit to date. Nintendo and its roster of characters have defined the video game medium, with characters like Mario and Luigi holding the same universality worldwide as a bottle of Coca-Cola or McDonald's golden arches. The animated picture, which debuted in early April with little competition at the multiplex, has grossed over $1.3 billion and has racked up nearly $100 million from Premium Video on Demand.

Why is "Mario" so successful (particularly when the 2023 film is compared to its divisive 1993 live-action predecessor)? It's simple. In keeping with Illumination's mantra of creating crowd-pleasing films, "Mario Bros." doesn't alienate. It capitalizes on its IP by treating it with reverence and respect. It doesn't go beyond its means and tries its best to create a piece of mass-market cinema that isn't overly complex, which allows it to be easily translated. Nearly 60% of the "Mario" gross is thanks to international markets, where the film was dubbed with local talent to match audience expectations. Unlike Disney's contemporary films, which primarily deal with Western-centric trials and tribulations, the appeal of "Super Mario" was wholly universal — audiences across the globe knew they were getting a simple, family-friendly comedy with the right amount of heart the moment they walked into cinemas.

Spider-Verse, meanwhile, innovates at every turn

If "Mario" is a testament to the power of IP and simplicity, then "Spider-Man: Across the Spider-Verse" is the opposite, an exposé on how IP can serve as a gateway to expand upon new and bold ideas. In the case of "Spider-Verse," it's the franchise's ability to chart a new path with its inventive animation, bleeding traditional hand-drawn looks with contemporary CG, creating a fluid, immersive visual language. "Into the Spider-Verse," which debuted in 2018, quickly became the blueprint for contemporary animation, with films like the upcoming "Teenage Mutant Ninja Turtles: Mutant Mayhem" taking cues from it. And the film's 2023 sequel has truly penetrated pop culture on another level, with many dubbing it as one of the best animated films of all time.

"Across the Spider-Verse" taps into both superhero and multiverse tropes with grace, capitalizing on audience expectations with its fair share of cameos and easter eggs. But it's the film's visuals that set it apart, proving that audiences are ready to digest animation styles that don't just replicate reality. "Spider-Verse" swings for the fences by playing with a variety of contrasting images and designs to create something that truly has to be witnessed on the biggest screen for possible. As superhero films lose their general hold over audiences, "Spider-Verse" stands out from the crowd because its "it factor" isn't the multiverse, but rather, its liberal use of several different animation techniques.

For Disney, this should be a wake-up call that their animation style is getting stale — audiences are ready for more visual risks.

Disney needs to balance between magic and strategy

The light on Disney's kingdom seems to be dimming, at least on the animation front. Illumination and Sony Pictures Animation –and arguably, DreamWorks Animation — are filling in for the once mighty behemoth, delivering hits that hold actual staying power. What's gone wrong for Disney? It's important to recognize that the slump is because of two things: (1) a lack of innovation and (2) business blunders that have robbed the company of its prestige. After diminishing returns with "Meet the Robinsons" and a failed return to hand-drawn animation with "The Princess and the Frog," Walt Disney Animation Studios found itself in a slump, while sister company Pixar was soaring to new heights. Their luck changed with 2013's billion-dollar grossing "Frozen," a film that playfully toyed with the studio's reputation for creating princess-centric films. With "Frozen," true love wasn't conventional heteronormative love, but the power of sisterhood, a subversion that proved Disney was moving beyond traditional, boxed-in themes, like Pixar.

Since that striking turn a decade ago, WDAS (and Pixar) have found themselves in a corner with one core theme: generational trauma. "Frozen II," "Turning Red," and "Encanto," among others, have focused on the sins of the past manifesting in the present. Repetitive narratives and themes are fine if there is visual diversity, but WDAS has largely followed in the footsteps of Pixar, trying its darndest to create 3D computer-animated films that emphasize realism. If "Spider-Verse" has proven anything, it's that audiences can value adventurous forms of animation that aren't wholly uniform. Pixar and WDAS were once the face of taking risks by focusing on realism, genre-bending narratives, and diverse characters. Today, that isn't enough.

Disney has no one to blame but itself

"Toy Story 4" and "Frozen II" grossed over $1 billion in 2019. If "Toy Story 5" and "Frozen III" were to hit cinemas this calendar year, it's difficult to imagine them grossing over $800 million. IP matters, right? Not when it's diluted. In a bid to boost Disney+'s clout during the COVID-19 pandemic, Disney sent several of Walt Disney Studio Animation Studios and Pixar films to the service, robbing instant classics like "Soul" and "Turning Red" of profitable theatrical runs. Even "Raya and the Last Dragon," a film that should have been widely celebrated for its diverse story and roster of characters, was sent to Disney+'s Premier Access to squeeze up a quick profit. The result? Families across the globe realizing that their $7.99 a month subscription to Disney+ was a far better bet than buying tickets for the company's latest animated effort.

"Lightyear," what should have been a surefire hit, dropped the ball with middling critical reception and a gross of $218 million. The kooky sci-fi epic "Strange World," which boasted out-of-this-world visual aesthetics, couldn't take flight with a $69 million cume — one of the company's biggest financial failures. And "Elemental," the closest thing to a riff on "Inside Out," debuted to shy of $29 million –  just $2 million less than the third-weekend gross of "Spider-Verse."

Disney knows they fumbled the bag by sending their films to Disney+, with Pixar chief Pete Docter telling Variety that the company trained audiences to expect films on the service. It also doesn't help that their films cost way too much. In pursuing realism, Disney's bank accounts are being drained, with "Elemental" and "Lightyear" boasting $200 million price tags. "Spider-Verse" and "Mario," meanwhile? $100 million, shortening the amount of success they truly need.

Disney will persevere

The success of "Super Mario Bros" and "Spider-Verse" should scare Disney. The once-mighty powerhouse needs to figure out a way to bring audiences back to cinemas because, frankly, the Disney magic is dissipating as each day goes by. Luckily, "Mario" and "Spider-Verse" provide the necessary steps for Disney to rebound.

Disney should continue to focus on cost-cutting, bringing down the budgets for its animated flicks. If both "Mario" and "Spider-Verse" can become record-breaking and genre-defining films with small budgets, Disney should be able to do the same. Another way to save money? Actually release films in theatres. Recent flounders like "Lightyear" and "Elemental" should not signal that the theatrical model is dead. Treat Disney+ as the company's archive, not its saving grace. Allow future and recent projects like "Elemental," to premiere on PVOD after their time in the cinema is done. Give it months before sending the film to Disney+, where it can live forever. This is what Disney does with its Marvel films and, most recently, "Avatar: The Way of Water."

But no managerial switch-ups and financial cutbacks can change audience perception. Audiences want something new. If "Mario" was the power of IP and general breeziness coming to life, then "Spider-Verse" is proof that risks can be taken. Disney, pick your fighter. Instead of regurgitating IP, like with "Lightyear," allow Pixar to bring the world of "Avatar" or "Star Wars" to animation. Or switch up your tried-and-tested 3D animation style for something that pops, forcing audiences to witness the latest visual marvel on the biggest screen possible.

With "Wish," Disney seems to be doing just that, blending 3D animation with watercolors to create a look that no one else is doing. Now, will Disney succeed with this upcoming "risk?" That's up to the audience members.

Disney is attempting to reclaim its position in the animation industry with its upcoming film, Wish, which is an original fairy tale musical that combines traditional and digital techniques.

Title:

Content: The golden age of Disney animation is over

Disney animations keep bombing at the box office, but Universal’s Super Mario and Sony’s Spider-Verse are flying. Can the Mouse fight back?

In November 2012, just before the studio’s 90th anniversary, Disney released a six-and-a-half-minute animation which hinted that revolution was in the air. Directed by John Kahrs, a veteran of Pixar’s explosively creative early years, it was titled Paperman, and had its head in the past in many respects: it was black and white, had no spoken dialogue, and was set in Frank Capra-era 1940s New York.

What made it radical was its look. Using a new piece of software called Meander, Kahrs and his artists had managed to fuse rich three-dimensional computer graphics with the tactility and vigour of old-fashioned hand-drawn art.
“There was this notion of, we’re the only studio in the world that has this breadth of talent,” Paperman’s producer Kristina Reed told the technology magazine Wired at the time. “Is there something we can do by actually matching them together? Is there some new place we can go visually that no studio has gone before?”

The industry held its breath. Here was arguably the biggest technological and stylistic leap forward in the medium since 1995, when Toy Story brought digital animation to cinemas in the first place. Once this extraordinary new style found its way into a major feature-length film, animation would be changed for good.

Sure enough, six years later, it was – but Disney wasn’t the studio to do it. In 2018, Sony Pictures Animation released Spider-Man: Into the Spider-Verse, an all-ages superhero adventure in a similar hybrid style that combined the best qualities of traditional and digital techniques. The result was a film that looked like a comic book come to life: scribbled swooshes and squiggles flew seamlessly through detailed CG environments, while characters’ emotions were, as in times of old, literally written across their faces in thoughtful, human-etched lines.

Simple touches like animating characters “on twos” again – that is, doubling up their frames so that every second of footage is made of 12 separate drawings rather than 24 – restored a pleasing vintage crunchiness to their movement that had been lost in the new fluidity of the CG age. The difference now is that the backgrounds can be fluid and the characters crunchy, or vice versa, changing as the mood and action requires. It’s the sort of stuff that works on an audience subliminally – but makes them feel as if they’re watching something both technologically extraordinary and lovingly hand-made.

What was now inescapably the “Spider-Verse style” was instantly copied by other studios: Paramount is using it in this summer’s Teenage Mutant Ninja Turtles: Mutant Mayhem, while Dreamworks deployed it in both The Bad Guys and Puss in Boots: The Last Wish. Sony would redeploy the technique twice more itself, first in The Mitchells vs the Machines and then in this month’s Spider-Man: Across the Spider-Verse, pushed to dizzying new extremes.

If the first Spider-Verse film was a living comic, the second more closely resembles a riot in an art gallery: expressionistic splatters of ink and paint, torn paper collages and Renaissance-style draughtsmanship all jostling to get in front of the audience’s eyes. It’s avant-garde in the straightforwardly translated sense, yet plainly profitable too, having taken £16 million in the UK, and $405 million worldwide, in just two weeks.

How have Disney and Pixar responded? Until recently, by carrying on doing exactly what they had been doing pre-Paperman. Rumour was that 2016’s Moana might embrace this new style – then when it didn’t, all eyes turned to a Jack and the Beanstalk adaptation called Gigantic… which was then promptly cancelled. Instead, they stuck to the new house style established in 2010’s Tangled, which was beautifully suited to some projects (notably Encanto and Raya and the Last Dragon) but less so others, such as last year’s Strange World, a science-fiction toxic masculinity parable which already feels barely remembered.

On the purely commercial front, meanwhile, Disney found itself hopelessly outgunned by the upstarts at Illumination, whose latest Minions sequel outgrossed Strange World almost 13 times over, and whose feature-length Super Mario Bros advertisem– sorry, adaptation, recently overtook Frozen in the all-time box office stakes. At the same time, sister studio Pixar seemed to be undergoing an existential crisis. Lightyear, their uninspired 2022 Toy Story spin-off, seemed to openly loathe its widely beloved main character – but that was the film that made it to cinemas, while mould-breaking masterpieces like Soul and Turning Red were funnelled onto Disney+ as glorified subscriber perks.

Their latest original creation, a romantic adventure between a flame and a water drop called Elemental, is opening in cinemas in three weeks, though its reception at Cannes last month was relatively muted. Barely a week after Elemental’s premiere, the studio awoke to news of swingeing cuts, with Lightyear’s director Angus MacLane among the 75 employees to be shuffled out.

Amid these crises, how fared the Disney legacy? Well, the studio still retained the services of old-school masters like Eric Goldberg, who had served as lead animator on Robin Williams’s Genie in Aladdin. But this vault of genius was only heaved open now and then, and for relatively niche work: Goldberg’s own most high-profile recent gig was on Moana, animating Maui’s tattoos. From a position of seemingly unassailable advantage – they had the talent, the heritage, the vision – Disney had lost the initiative.

As their 100th anniversary approaches, however, they’re in the process of clawing it back. This week in London, Disney Animation’s chief creative officer Jennifer Lee showed critics and journalists 20 minutes from Wish, an original fairy tale musical whose release this November will coincide with the studio’s centenary celebrations. It’s about a village girl called Asha, voiced by West Side Story’s Ariana DeBose, who befriends a wish-granting star that tumbles to Earth: soon enough, woodland creatures are performing comic patter numbers, and a wicked monarch’s plans are exposed. After Strange World, it feels like a back-to-the-drawing-board moment, and happily the drawing board is where much of Wish has been created.
Here, at long last, is Paperman’s spiritual successor: a film which recaptures the spirit of Disney’s classic midcentury work in a way that apparently meshes seamlessly with the form’s most cutting-edge processes.

In place of the poppy exuberance of the Spider-Verse films, Wish returns to the hand-painted folkloric spirit of Disney’s own first 50 years: it’s just that now, the towers, forests and courtyards described by those brushstrokes exist as virtual three-dimensional spaces, populated by characters rendered with computer technology, but who move and emote with the swish and snap of traditional cartoons. Lee named the studio’s 1959 masterpiece Sleeping Beauty as one of their main inspirations on Wish, and compared background and character sketches with those from the 1930s production of Snow White and the Seven Dwarfs. After the Disney+ related disruptions, she was also keen to stress that the film would open exclusively in cinemas, with no quick appearance on digital channels. “It’ll be a long run with a full commitment to theatres,” she stressed. “Yay theatres.”

Why did it take so long for Disney to get here? Lee described a recent culture of caution at the studio – which, it would be fair to assume, probably wasn’t so much of a factor at Sony Animation, which hasn’t even been making films for 20 years yet, and had no real legacy of its own to fret about, beyond the popular Hotel Transylvania and Cloudy With a Chance of Meatballs series. (And, ahem, The Emoji Movie.)

“I say this with so much respect, but what it took to make Spider-Verse is a completely different technology than it took us to do this,” Lee explained. “There was always a desire at Disney to only do this look when it could really represent the art style that we care about. We had the technology, to an extent, five or six years ago. But then we realised we had a scene on the water, and simply finding a way to apply this look to water alone took many more months of research and development.”

While the early footage is ravishing – and the songs madly infectious – only time will tell if Disney’s efforts have paid off. But if they have, the animated Oscar fight next year could prove an Ali vs Frazier-level match. In the red corner, Spider-Man; in the blue corner, Princess Asha: place your bets while the ink’s still wet.

Elemental is in cinemas from July 7; Wish is in cinemas November 23

The success of Disney's live-action remakes and animated films depends on the company's ability to balance nostalgia with modernity and create fresh and original stories that resonate with modern viewers.

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

The live-action remakes have sparked controversy and criticism over issues such as cultural sensitivity, diversity, and representation, with some arguing that the company prioritizes political correctness over storytelling and character development.

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?

Disney's live-action remakes have been successful in terms of box office performance, with many of them grossing hundreds of millions of dollars.

Title:

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.

Advertisment

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

Advertisment

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.

Advertisment
Advertisment

How has Disney leveraged nostalgia in recent years?

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

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

Worldwide revenues exceeded one billion dollars

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

The company's commitment to diversity and inclusion has led to both critical and financial success, with films like Black Panther becoming cultural phenomena and highest-grossing domestic films.

Title:

Content: Advertisment

Disney Clashes with Investor Nelson Peltz Over Diversity in Marvel Films

Disney clashes with investor Nelson Peltz over diversity in Marvel movies, defending its inclusive approach amid a critical board election.

Geeta Pillai
New Update

Walt Disney Co. has publicly disagreed with statements made by Nelson Peltz, an activist investor, regarding the company's emphasis on diversity in its Marvel movie franchises, including The Marvels and Black Panther. Peltz's critique of Disney's focus on films featuring predominantly female and Black casts has ignited a debate on the entertainment giant's board composition and its creative direction. This conflict comes as Disney prepares for a critical board election amid a larger struggle over its future leadership and strategy.

Advertisment

Background of the Controversy

In an interview with the Financial Times, Nelson Peltz expressed dissatisfaction with Disney's approach to diversity in its storytelling, specifically questioning the necessity of having Marvel movies with all-female or all-Black casts. Disney responded by asserting that Peltz's views disqualify him from a role within a company that prioritizes creativity and inclusivity. The confrontation highlights a growing tension between Peltz, who is seeking a seat on Disney's board through his Trian Fund Management, and Disney's CEO Bob Iger, who has been an advocate for diversifying the Marvel cinematic universe.

Financial and Critical Success

Advertisment

Despite Peltz's criticisms, Disney's commitment to diversity has proven to be both a critical and financial success. Black Panther emerged as a cultural phenomenon and one of the highest-grossing domestic films of all time, while The Marvels, though met with modest box office returns, represented a continuation of the studio's efforts to broaden its storytelling perspectives. Marvel Studios, under Kevin Feige's leadership, has seen unprecedented success, with its films collectively grossing nearly $30 billion worldwide, challenging Peltz's implications about the impact of diversity on quality and profitability.

The Battle for the Board

The dispute with Peltz is set against the backdrop of an upcoming shareholder meeting on April 3, where Disney's board composition will be determined. The clash is not just about individual viewpoints on diversity but reflects deeper questions about the direction of Disney and the role of activism in corporate governance. With Peltz and Trian Fund Management vying for board representation, and another activist firm, Blackwells Capital, also seeking seats, the outcome of this struggle could significantly influence Disney's future strategies, including its continued commitment to diversity and inclusion in its content creation.

This unfolding drama underscores the challenges faced by traditional entertainment companies as they navigate the demands of modern audiences for more inclusive content, against the backdrop of broader debates about corporate governance, creativity, and social responsibility. As the April 3 shareholder meeting approaches, the industry and investors alike are watching closely, recognizing that the decisions made now could shape the future of not only Disney but the landscape of entertainment at large.

Advertisment
Advertisment

Social media platforms and channels continue to evolve, challenging businesses to adjust social strategies to capture the attention of target audiences.

Title:

Content: Subscribe to Entrepreneur for $5
Subscribe

The Business of Harnessing the Power of Social Media

As business owners and entrepreneurs look to harness the power of social media in a shifting digital landscape, they will need to have an excellent grasp of social media fundamentals and keep up with evolving social media trends.

By
Opinions expressed by Entrepreneur contributors are their own.

Social media platforms and channels continue to evolve, challenging businesses to adjust social strategies to capture the attention of target audiences, build brand visibility and generate leads. As business owners and entrepreneurs look to harness the power of social media in a shifting digital landscape, they will need to have an excellent grasp of social media fundamentals and keep up with evolving social media trends.

The sheer number of social media users makes a compelling case for businesses to increase their social media acumen. As of April 2021, social media platform users reached a global total of 4.33 billion – that equates to more than half the world’s population which stood at 7.85 billion at the start of April 2021.

On average, users spend nearly 2.5 hours on social media. Much of this time is spent on the larger social networks such as Facebook, Instagram, Twitter and TikTok. This captive audience provides business owners and entrepreneurs a powerful opportunity to reach and connect with key stakeholders. The most effective way for business owners and entrepreneurs to do this is by adhering to best practices when it comes to social media fundamentals and making it a priority to keep up with evolving social media trends. The following are a few of the social media fundamentals and trends every business owner should either master or be aware of.

Related: 8 Simple Ways to Make Social Media Work for Your Business

Know your audience

Today, competition for capturing the attention of target audiences on social media platforms is fierce. And, considering that according to one oft cited study, the average human attention span is eight seconds which is less than the reported 9-second attention span of a goldfish, brands don’t have much time to attract notice.

Competition for mind share and dwindling attention spans make it critically important for brands to understand who their audience is to most effectively connect and engage with them.

The process of knowing the audience includes determining what social media platforms they most use and researching what their ‘pain points’ are, what their needs and wants are and what content will most appeal to them. Surveys, customer data and social media analytics can help companies refine social media strategies to ensure the right audience is targeted with content that is relevant and personalized to them.

Related: Beginner's Guide to Social Media Marketing

Find brand voice

Brand voice is defined as the distinct personality a brand takes on in its communications. A strong social media strategy starts with companies knowing who they are and what they represent. According to a Sprout Social Index survey, brands that stood out more to consumers on social media had more memorable content (40%), had a distinct personality (33%) and told compelling stories (32%). Sprout Social noted that “in all three of these aspects, brand voice plays a significant role. You can’t have a distinct personality without a distinct brand voice.”

Developing an authentic voice aligned with company branding develops trust and recognition with audiences, allows key stakeholders to get a clear sense of company values and connects audiences more deeply to brand messaging.

Consistently post content

An intentional social media strategy that focuses on posting content consistently keeps audiences engaged, develops loyal followers and boosts brand awareness. In the social media realm, lack of consistency is a sure way to lose audience interest.

Research from Hootsuite revealed the ideal number of times a day (or week) to post for each platform:

  • On Instagram, post between 3-7 times per week.

  • On Facebook, post between 1 and 2 times a day.

  • On Twitter, post between 1 and 5 Tweets a day.

  • On LinkedIn, post between 1 and 5 times a day.

To stay on top of posting regularly, business owners can develop a social media content calendar as a tool for scheduling out social posts each month. This strategy can help businesses plan for and tie social posts to holidays, recognitions and upcoming events. Using a content calendar to develop a consistent cadence of posting also allows companies to analyze what content is working and what is not so that the content strategy can be fine-tuned across platforms to ensure that posts most effectively resonate with and engage target audiences.

Engage in social listening

Social listening allows companies to monitor and analyze digital interactions and conversations related to company, product, competitor and industry mentions across social media channels. Talkwalker notes that social media listening gives companies the view from 30,000 feet by “pulling conversations from social media and analyzing the conversations in aggregate for insights.”

Social listening can help companies understand whether mentions are increasing or decreasing in a given month, whether people are engaging with content, what is trending related to a specific industry or topic and whether sentiment/feedback is positive or negative.

Related: 10 Laws of Social Media Marketing

Now let’s take a look at some evolving social media trends.

Video

The popularity of video content on social media will continue to grow. Consider that on average, more than 100 million video hours are watched per day on Facebook and according to data from Limelight Networks, user generated content such as videos on social media significantly increased in popularity, doubling over the past year to four hours per week.

Video content is also going short form. The fact is, most social media users don’t have time to watch videos that are longer than a few minutes, making the optimum length for these shorter videos about 90 seconds or less. Audience preference for short form video content is a major reason for the surge in popularity of video-sharing app TikTok which reached 1 billion active global users in September 2021.

Stories

Immersive and interactive, stories remain one of the most popular features on social media. The personal and ephemeral nature of these 10-15 second photo or video posts make them more compelling to audiences than newsfeeds. They are typically a vehicle for brands to more casually share the inside scoop on company updates and showcase products and services.

Instagram is one of the most popular platforms for this feature, reporting 500 million daily active Stories users worldwide in 2019. Currently, 9 other social media platforms have their own version of stories available including business networking platform LinkedIn.

Live stream

Live streaming is trending on social media now. Companies are using this approach to stream behind-the-scenes content, announce new products, demonstrate products, give facility tours and host live Q&A sessions. Live streams also allow businesses to inject more personality into their social media with challenges and giveaways as well as surveys and polls.

As a tool for real-time engagement, live streaming is a great way to increase brand awareness, improve and enhance communication with target audiences and gain a deeper understanding of audience interests.

Written By

Entrepreneur Leadership Network Contributor

Juda Honickman loves growth, strategy and being creative with disruptive brands. Currently serving as CMO for Slinger Bag Inc., an innovative sports brand focused on game improvement, Honickman previously held senior marketing positions in global consumer and tech companies.

Disney's approach to live-action remakes is influenced by its business acumen and ability to adapt to changes in the entertainment industry.

Title:

Content: What’s Disney’s legacy as it turns 100? It’s not just Mickey

The brand’s knack for innovation and reinvention has taken it far.

“100 Years of Wonder” is the theme for Disney’s year-long promotion of the company’s centenary. From special Disney on Ice events to a retrospective at the British Film Institute and limited edition Disney100 merchandise, Disney’s celebration is big business.

The wonder and magic of Disney are consistently promoted. And yet I would argue that Disney’s greatest legacy is not its animated stories or characters, but the more mundane history of its mergers, acquisitions and intellectual property rights.

The business acumen of those behind the scenes at Disney has been central to the peaks and troughs of the company’s enduring presence in the film industry and popular culture at large.

Early Disney

The Walt Disney Company was founded in Hollywood by brothers Walt and Roy Disney in 1923.

Before this, along with friend and animator Ub Iwerks, the brothers had founded Laugh-O-Gram Studio in Kansas City, Missouri. They then moved west with their successful silent Alice Comedies series, which featured both animation and live action.

Animation is what the Disney studio became known for. First with its shorts, which included Mickey Mouse’s third outing in the studio’s first sound film, Steamboat Willie, and the Silly Symphony series. And then in its feature length films, beginning with Snow White And The Seven Dwarfs in 1937.

The first two decades of the studio established Disney’s desire for innovation and profit. This was illustrated through its early adoption of merchandising (Mickey Mouse merchandise was profitable in the mid-1930s) and various technologies, such as Technicolour and sound.

Sinking most of its profits back into its expensive animated ventures led Disney to find ways to cut costs. This included making live-action nature series, television shows and opening Disneyland, its first amusement park, in Los Angeles, California, in 1955.

While its animated products were no longer as groundbreaking as they once were, its adoption of television in the 1950s was lucrative and popular, especially The Mickey Mouse Club (1955) and Davy Crockett (1954).

Furthermore, television afforded the company the opportunity to promote its products and authenticate Disney’s position at the forefront of animation. However, live-action films – quicker to make and less expensive than animation – dominated its releases in the 1960s, with stars Haley Mills, Fred MacMurray and Dean Jones appearing in multiple Disney films.

In 1966, Walt died. Roy then passed in 1971 and Walt Disney World opened in Florida the same year. In many ways, the Disney Company was never the same after the loss of the founding brothers.

Disney without Walt

The template was established for how the company would function for the next 50 years. Disney animation innovated again in the late 1980s and early 1990s through computer animation. A renaissance took place with the releases of The Little Mermaid (1989), Beauty And The Beast (1991) and The Lion King (1994).

The company also expanded into cable television with The Disney Channel and founded a distribution label, Touchstone Pictures, that focused on films for adults.

There was unhappiness among animators at the studio towards the company’s bureaucracy and the perception that profits always went back into the films and not to improving working conditions or salaries (one major strike against Disney took place in 1941).

The list of former Disney animators that went on to work elsewhere or open their own animated studios is long and diverse.

Walt had learned the importance of owning rights early in his career, after he lost the intellectual property to his first successful animated character, Oswald the Lucky Rabbit. The imperative to retain proprietorship and diversify the corporation can be witnessed in many of Disney’s deals and mergers.

In 1991, Disney agreed to make films with Pixar, which has gone on to be regarded as an innovative animated studio. It later acquired Pixar in 2006.

Disney Today

In 1995, Disney acquired the ABC television network, which also owned the cable sports network, ESPN. In April 2004, Disney purchased the Muppets franchise. In 2009, Marvel Entertainment was acquired and Lucasfilm was bought in 2012.

Through these purchases, Disney has become one of the most significant entertainment companies in the world and one of the few early Hollywood studios that still maintains name recognition (Disney bought out 20th Century Fox in 2019).

Whereas for earlier generations Disney stood for Mickey Mouse, animated fairy-tale features and family entertainment, for younger generations, Disney is a streaming service, amusement park brand and the creator of the Star Wars universe television programming.

Traces of Walt, Roy and the pioneering animation established in the early days of the studio can be seen in its animated releases, such as Encanto (2021), and company legacy through the “reimagining” of its animated films, such as the recently released live action The Little Mermaid.

The commercial landscape of the entertainment business is always in flux. While many companies are operating their own streaming services, the long-term success of these services is questionable. This is most evident in the recent writers’ and actors’ strike in Hollywood that was mainly focused on outdated royalty models that do not account for streaming media content.

Disney’s last few releases were not as successful as it had anticipated at the box office, and it has lost a significant amount of Disney+ subscribers in 2023. However, this is a trend taking place throughout Hollywood and, while Disney is struggling, it remains a significant brand in the global media market.

And there is no question that its theme parks continue to be popular with families who want to immerse themselves in all things Disney.

The magic of Disney’s animation and the memories created at its theme parks are part of its “100 Years of Wonder”. But so is its successful business model that has continually adapted to changes in the entertainment business and its persistent cultural relevance.

  • Julie Lobalzo Wright is assistant professor in Film and Television Studies at the University of Warwick.
  • This article was first published in The Conversation.

Join ST's Telegram channel and get the latest breaking news delivered to you.

The company's legacy is not just its animated stories and characters, but also its history of mergers, acquisitions, and intellectual property rights.

Disney has expanded its brand through various acquisitions, including Pixar, Marvel Entertainment, and Lucasfilm, which has helped it become one of the most significant entertainment companies in the world.

The company's streaming service, Disney+, has contributed to its cultural relevance, especially among younger generations.

Social media platforms like Twitter and TikTok can be breeding grounds for negative and hyperbolic reactions to changes in live-action remakes, such as the upcoming Snow White adaptation.

Title:

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.

Actresses like Brie Larson and Rachel Zegler have been targeted with online harassment and criticism for voicing their opinions and being part of live-action remakes.

The backlash against these actresses is often fueled by misogynistic and sexist attitudes, with some critics accusing them of promoting 'pseudo-feminism' or having 'opinions' that are perceived as threatening to traditional gender roles.

Disney's live-action remakes, such as the upcoming Snow White adaptation, are making changes to the original stories to reflect modern values and sensibilities, such as making the lead character more proactive and independent.

The changes made to live-action remakes are often driven by a desire to update the storytelling and make it more relatable to contemporary audiences.

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

Social media platforms can amplify and distort public opinion, creating a false narrative that a particular remake or actress is widely disliked or controversial, when in fact the criticism may be coming from a vocal but relatively small group of people.

The company incorporates feedback from social media and cultural trends into their decision-making process, as evidenced by their response to criticism from actors like Peter Dinklage.

Disney is actively working to be more inclusive and diverse in their live-action remakes, as seen in their casting choices and efforts to avoid stereotypes.

Title:

Content: Disney responds to Peter Dinklage’s criticism of the live-action adaptation

THE disney has been recreating several of its classic animations in live action over the years and, currently, one of the projects developed focuses on telling the story of snow White. Although the project does not have many details disclosed, the film has already become the target of criticism from Peter Dinklagethe Tyrion of game of Thrones. Now, it was the company’s turn to respond to the actor’s speech.

Actor Peter Dinklage.

In his comment, the actor noted that he was shocked that the company was proud to cast a Latin actress in the lead role while also looking to retell a “retrograde history”. THE The Hollywood Reporter contacted a representative of the disneywho offered a response to the actor’s comment, noting that the live action is taking care to avoid stereotypes present in the animated version. The statement says:

“To avoid reinforcing stereotypes from the original animated film, we are handling these seven characters differently and have consulted with members of the dwarfism community. We look forward to sharing more as the film enters production after a long period of development.” the representative said.

The report released by the website further states that the film has been in development for three years, and the dwarf characters are being reimagined from the early stages of development. Furthermore, snow White is not the first live action Disney to have cultural consultants, as this was also the case with Aladdinfor example.

snow White has the direction of Marc Webb (The spectacular Spider Man), having in its list Rachel Zegler (Love sublime love) in the role of the protagonist and Gal Gadot (Wonder Woman) as the Evil Queen. The production does not yet have a premiere date.

See too:

About Hrishikesh Bhardwaj

Tv specialist. Falls down a lot. Typical troublemaker. Hipster-friendly advocate. Food fan.

Check Also

BBB22: Natália revolts with Slovenia after talking about voting on the wall: “Put your luck in the r*bo”; watch!

It seems that the “Big Brother of love” is running out of hours… One of …

How did Disney respond to criticism from Peter Dinklage regarding stereotypes?

Consulted members of the dwarfism community to avoid reinforcing stereotypes

How does Peter Pan and Wendy enhance inclusivity?

Tiger Lily avoids stereotype
The Lost Boys are portrayed as diverse

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

Debate over both Ariel's casting and racial representation.

The casting of Halle Bailey as Ariel in Disney's live-action remake of The Little Mermaid has sparked a mix of positive and negative reactions on social media, with some users celebrating increased representation and others expressing bigotry and bias.

Title:

Content: Actually, Black Mermaid Folklore Has Been Around Long Before Disney’s The Little Mermaid

The moment I feel even remotely vulnerable —be that the fragile morning after an inhibition-free night, the familiar shiver of cold and flu symptoms or the helpless pit of despair that engulfs me when my mental health begins to plummet —you’ll find me curled up on the settee, under a protective layer of blankets, shamelessly watching movies filled with childhood nostalgia. Movies like Disney’s The Little Mermaid (1989) have sat firmly in this arsenal of self-care classics ever since I can remember, enveloping me in a carefree hug at a moment's notice.
But movies that transported me to a place of innocence and ignited my imagination without having to strain to envision myself within these fantasy worlds, however, are in short supply. As a dual heritage Black kid growing up in the 90s, opportunities to feel represented in my escapism were limited. Slightly too old to be impacted by Disney’s Princess and the Frog, I found meaning, and myself, in classics such as Roger and Hammerstein's Cinderella (starring Brandy, Whitney Houston and Whoopi  Goldberg) and Motown’s The Wiz (an adaption of the Wizard of Oz starring Diana Ross and Micheal Jackson). It’s for these reasons that I am unashamedly excited for Disney’s live-action remake of The Little Mermaid, in which Ariel is played by Halle Bailey.
Advertisement
There’s no shortage of discourse on representation politics, the ongoing need for fairer representation in the media we consume and the ways the lack of it impacts people of colour of all ages. This importance can be felt most viscerally via a quick TikTok search of The Little Mermaid where endless streams of reaction videos showcase the unadulterated joy of Black children when seeing the latest trailer.
Move over to Twitter, however, and you’ll likely be bombarded by bigotry and bias. The hashtag #NotMyAriel is trending amongst outrage and disgust at a Black actor being cast to play a fictional character. To quote writer and academic Saidiya Hartman, “So much of the work of oppression is policing the imagination”, and whilst simultaneously comical, embarrassing and triggering to witness, this backlash served as a reminder that no matter how frivolous our sources of joy may be, whiteness will attempt to steal every ounce of it.

The fantasy of merpeople lived in the cosmologies of our Black and indigenous ancestors long before Hans Christian Anderson coined his fable in the 19th century

In decolonizing our imagination —  by challenging the Eurocentric erasure of Black and Indigenous wisdoms, creativities and experiences —we’re able to recognise that whilst the remake of The Little Mermaid is important to many (myself included), we can also find ourselves represented in our own cultural storytelling, folktales and mythologies. We don’t need to rely on the white gaze of Western capitalism to feel seen and heard. In letting go of that gaze, we are reminded that the fantasy of merpeople lived in the cosmologies of our Black and indigenous ancestors long before Hans Christian Anderson coined his fable in the 19th century, and certainly before Disney offered our generation a capitalist mascot in their 1989 animated adaptation.
Advertisement
“All children, irrespective of race, creed, religion, deserve to see themselves reflected in books and films. We owe it to their self-esteem, to their creativity, to their imaginations. The imagination of a child is boundless, and it is the imaginations of this current generation of children that will ultimately provide solutions to some of the most pressing crises faced by the world today,” writer and doctoral candidate at the University of Cambridge, Mary Ononokpono tells Unbothered.
A final year doctoral candidate, Mary’s ongoing research into the lives of coastal Biafran women during the Atlantic Age and Age of Abolition has sparked an informal interest in the ways that pre-colonial African communities were informed by a belief in and fear of water spirits. Known colloquially as ‘Orishas’ or ‘Ndem’ these deities were thought to have been sent by a supreme or higher god to populate, protect and service the earth, and continue to be worshipped today.
“Racial injustice is ultimately rooted in historical illiteracy. If people don’t understand how we got to this point as a society, injustice will persist. In that respect, the decolonization of the cosmologies, mythologies and folklore of Black Atlantic societies has a really important part to play” she continues.
Some pre-colonial water spirits include Yemaya — a goddess of the ocean, who, legend has it, created the seven seas. Believed to be a fierce protector of women, this water spirit is still worshipped across the world,such as by those of Santería faith in Cuba who were transported across waters during the transatlantic slave trade. It is said that to connect with Yemaya, holding a shell to our ears will carry her messages in the sound of waves.
Advertisement
Another pre-colonial deity is Oshun, the goddess of divinity, femininity, fertility, beauty and love. Considered to be one of the most powerful orishas, she’s both heralded as the nurturer of humanity and feared as a benevolent being, whose earthly punishments come in the forms of floods and droughts. In Nigeria, annual celebrations continue to take place along its Oshun river, where pilgrims pay homage, make sacrifices, and ask the deity to grant wealth, health and happiness. Often depicted in yellow robes, Oshun is rumoured to be the ethereal muse behind Beyonce’s numerous works, referenced in both the lyrics and symbolisms of her visual album Lemonade and her ode to the African diaspora, Black is King
Photo by YAMIL LAGE/AFP/Getty Images.
A follower of the Orisha sea goddess Yemaya, of the Yoruba religion, gives offerings at Havana's harbour during the Yemaya Day celebrations in Cuba
Elsewhere in Brazil, the Tupi people celebrate Iara, commonly referred to as “the Lady of the Lake”. A great warrior who was betrayed by her brothers, Iara is a water spirit with a princess-like origin story — minus the damsel in distress trope. Often likened to other South American tales of sea witches and goddesses, over time Iara manifests in recent imaginations as a merging of the two, feared and revered for her power to lure men to the bottom of the ocean.
Perhaps one of the more infamously depicted deities however is Mami Wata.  Also known as  Watramama or ‘Mother of the Water’, this water spirit is part human, part fish, and is often depicted as interchangeable genders. Considered to hold the important role of blessing the souls who died at sea, Mami Wata has held cultural and religious significance to the African diaspora for centuries. Mami Wata is celebrated in festivals such as the Epe-Ekpe festival in Togo for example, and is commemorated across multiple artforms; from exhibitions in the Smithsonian and Knockout Centre to featuring as the protagonist in Natasha Bowen’s young adult fiction, Skin of the Sea.
Advertisement
Another work of fiction which draws sources from Indigenous histories is Monique Roffey’s The Mermaid of Black Conch, a book I have read and reread numerous times. Here, Aycayia, a mermaid of Taíno legend, who has the lower torso of a fish and a human upper torso adorned in tribal tattoos, is reimagined. Drawing inspiration from the Taíno population who inhabited Hispaniola (now the Republic of Haiti and the Dominican Republic) and were made extinct after being ‘discovered’ by Christopher Columbus in the 15th Century, Aycayia’s tale is one of colonialism, displacement, belonging, love and violence.
Photo by Education Images/Universal Images Group/Getty Images.
Entrance to the Shrine of Oshun, the water dwelling fertility goddess of the Yoruba religion in southwestern Nigeria
It’s through the honest and respectful retellings and reinterpretations of pre-colonial imaginations that diasporas of colour of all ages can truly see ourselves represented. As an avid wild swimmer who has always felt an affinity and attraction to merpeople despite being relatively disinterested in fantasy and sci-fi genres, I feel more at home in these nature-adoring narratives that offer an insight into my heritage than I ever have in any Disney movie.

Chantay is a London-based tattoo artist who specialises in Black depictions of ethereal deities. Her merpeople, fairies, cupids and nymphs sit amongst rockpools, toadstools and flowerbeds, sporting voluminous afros, cascading dreadlocks and woven cornrows.

It's for these reasons that I’d always craved a mermaid tattoo, but after one wildly uncomfortable experience involving a white tattooist and a failed attempt at depicting afro hair, I’ve been cautious of finding an artist who could dream up a mermaid that actually looks like me. So, when I stumbled across Chantay Blue’s Instagram I was overjoyed! Chantay is a London-based tattoo artist who specialises in Black depictions of ethereal deities. Her merpeople, fairies, cupids and nymphs sit amongst rockpools, toadstools and flowerbeds, sporting voluminous afros, cascading dreadlocks and woven cornrows. Earlier this year, I had the honour of getting one of Chantay’s merpeople inked on my forearm. There she sits, glistening as bubbles rise around her, her billowing curls trailing to the part of her waist where scales meet skin.
Advertisement
Catching up over Zoom, Chantay and I discuss her approach to tattooing — itself a form of expression rooted in Indigenous practices that predates colonialism — and its revolutionary potential to reclaim a sense of identity and belonging.  “When you get artwork tattooed on your skin you want something beautiful, something that reflects what beauty is to you, but most of the time we’re only offered images of white faces and features,” she says.
“All this does is reinforce the same beauty stereotypes that were forced on us in stories about merpeople and fairies when we were growing up. It doesn’t sit right with me, that you go for a beautiful tattoo and a white artist inks another white person on your arm or leg,”  she continues, “I want people to be able to see their own beauty in my tattoos — it helps me feel beautiful when I’m drawing these stunning creatures that look like me too. I think it speaks to my inner child who was always into mermaids, but never saw myself in them.”

Through a decolonizing lens we can reclaim our voices, stories, perspectives and imaginations and enjoy a blockbuster movie for what it is...

Whether through feature-length movies, fictional novels, tattoos, exhibitions, music or oral histories, when we are able to access ourselves in our own cultural storytelling, we’re reminded that we never needed the approval of whiteness to do so. With the racist rantings of grown adults on social media reframed as inconsequential white noise, we can also relinquish ourselves from the politics of representation, and no longer rely on white-dominated industries to dictate when and how our valid need to feel seen is met. Much like the ways that Ursula steals the voice of Ariel in the classic story, the commercialised capitalist legacies of colonialism silence the narratives of our ancestors. Through a decolonizing lens, we can reclaim our voices, stories, perspectives and imaginations and enjoy a blockbuster movie for what it is, without feeling uncomfortably reliant on it to speak to our sense of self. So, whilst you’ll most certainly find me tucked up on the sofa, my cat secured in the little spoon position, embracing the 2023 remake with childlike wonderment, I can’t help but wonder: wouldn’t it have been nice if we could’ve seen the tales of our own water spirits — Aycayia’s, Mama Wata’s or Oshun’s perhaps — depicted on the big screen too?
This article was originally published to Unbothered UK

More from Spirit

R29 Original Series

Advertisement

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

Debate over both Ariel's casting and racial representation.

The hashtag #NotMyAriel trended on Twitter, with some users expressing outrage and disgust over the casting of a Black actor in the role of Ariel.

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.

The backlash against the casting decision highlights the ongoing need for fairer representation in media and the impact of lack of representation on people of color.

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.

Disney's live-action remakes can be seen as an opportunity for the company to incorporate diverse perspectives and representation, but also face criticism for relying on Western capitalist gaze and erasing non-Western cultural narratives.

Social media and cultural trends play a role in shaping Disney's approach to live-action remakes, as the company seeks to create content that resonates with contemporary audiences and stays relevant in the global media market.