Disney’s live-action remakes of classic animated films over the past decade—including *Cinderella* (2015), *The Jungle Book* (2016), *Beauty and the Beast* (2017), *Dumbo* (2019), *Aladdin* (2019), *The Lion King* (2019), *Mulan* (2020), *Pinocchio* (2022), and *The Little Mermaid* (2023)—are primarily motivated by economic strategy, with nostalgia serving as a key profit driver.

By leveraging beloved intellectual property, Disney taps into a built-in fanbase, reducing financial risk and encouraging repeat viewership as audiences seek the comfort of familiar stories reimagined for the present .

This approach has yielded substantial box office returns; for example, *The Little Mermaid* (2023) grossed over $550 million globally, surpassing the original’s earnings and reinforcing the commercial viability of nostalgia-driven remakes .

To adapt timeless stories for modern audiences, Disney systematically updates narratives and characters.

*The Little Mermaid* (2023) portrays Ariel as 18, emphasizing independence and self-discovery, and introduces new characters and songs to enrich the narrative .

*Beauty and the Beast* (2017) reimagines Belle as an inventor, adding agency and modern relevance .

*Aladdin* (2019) expands Jasmine’s role, giving her a new song, “Speechless,” to highlight her leadership aspirations .

*Mulan* (2020) removes musical elements and focuses on Mulan’s journey as a warrior, reflecting contemporary values of empowerment and cultural authenticity .

The upcoming *Snow White* remake will feature a protagonist motivated by leadership rather than romance, signaling a shift toward empowered female characters .

Diversity and representation are central to these adaptations.

The casting of Halle Bailey as Ariel in *The Little Mermaid* was a deliberate move toward inclusivity, sparking both praise and backlash but ultimately contributing to the film’s cultural

Disney’s live-action remakes of classic animated films over the past decade—including *Cinderella* (2015), *The Jungle Book* (2016), *Beauty and the Beast* (2017), *Dumbo* (2019), *Aladdin* (2019), *The Lion King* (2019), *Mulan* (2020), *Pinocchio* (2022), and *The Little Mermaid* (2023)—are primarily motivated by economic strategy, with nostalgia serving as a key profit driver.

By leveraging beloved intellectual property, Disney taps into a built-in fanbase, reducing financial risk and encouraging repeat viewership as audiences seek the comfort of familiar stories reimagined for the present .

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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.

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By Sam Hargrave Posted:

Disney will release its live-action Snow White remake in 2024, but will the movie feature the seven classic dwarfs?

Continuing the train of Disney's live-action remakes of animated classics, Snow White will hit theaters in 2024, starring Shazam! Fury of the Gods' Rachel Zegler as the titular lead while Wonder Woman's Gal Gadot plays the Evil Queen.

The remake and Zegler have become enthralled in controversy recently after comments resurfaced from September 2022's D23 Fan Expo in which the actress panned the 1937 classic as outdated, teasing major changes for the modern update.

Will the Snow White Remake Include Seven Dwarfs?

Disney's Snow White and the Seven Dwarfs released in 1937 as an adaptation of an 1812 German fairy tale written by the Brothers Grimm. The story sees the young Snow White cross paths with seven dwarfs - who live in a woodland cottage and work in nearby mines - who accompany her on her adventures.

Arguably Hollywood's most famous dwarf actor Peter Dinklage (Game of Thrones) commented on Disney's live-action Snow White remake in an interview with Marc Maron's WTF podcast, via The Wrap

The actor explained how he was "taken aback" by the casting of Latina actress Rachel Zegler as Snow White while they are "still telling" the original story:

“Literally no offence to anyone, but I was a little taken aback when they were very proud to cast a Latina actress as Snow White. You’re still telling the story of ‘Snow White and the Seven Dwarfs.’ Take a step back and look at what you’re doing there. It makes no sense to me.”

Dinklage commented on how Snow White has been "progressive in one way" by casting a Latina actress in the leading role, but called the seven dwarfs' role in the original story "f***ing backwards:"

“You’re progressive in one way and you’re still making that f—ing backwards story about seven dwarfs living in a cave together, what the f— are you doing, man? Have I done nothing to advance the cause from my soapbox? I guess I’m not loud enough.”

To avoid any controversy over the iconic and titular seven dwarfs, Disney has opted to omit the dwarfs from Snow White altogether. According to a casting sheet that was seen by The Wrap, the live-action remake will instead fill the seven dwarf companion roles with "magical creatures."

A statement shared with the outlet by Disney confirmed they will be taking "a different approach" to "avoid reinforcing stereotypes:"

“To avoid reinforcing stereotypes from the original animated film, we are taking a different approach with these seven characters and have been consulting with members of the dwarfism community. We look forward to sharing more as the film heads into production after a lengthy development period.”

A leaked set photo from the remake's production revealed a look at Zegler's Snow White with these seven "magical creatures."

Every Major Change Confirmed for Disney's Snow White Remake

During an interview with Variety at the D23 Expo, Snow White's Rachel Zegler and the Evil Queen's Gal Gadot noted how the filmmakers have brought a "modern edge" to the story as it's "no longer 1937" - when the original movie was made.

The pair confirmed Snow White is "not going to be saved by the prince" this time around, nor will she be "dreaming about true love." Instead, she will be "dreaming about becoming the leader she knows she can be."

Speaking with ExtraTV in September 2022, Zegler noted how the original Snow White saw a "love story with a guy who literally stalks her," which they have opted to change. While the movie does have a Prince Charming actor, Andrew Burnap, the actress remarked "all of [his] scenes could get cut" as this movie will very much not be a love story akin to the 1937 animated movie.

These changes combined with the omission of the iconic seven dwarfs certainly paint the picture of a rather different Snow White story to the ones that multiple generations have known and loved for almost 100 years.

Snow White hits theaters on March 22, 2024.

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A Definitive List of All the Disney Live-Action Films

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

By Delia Paunescu and Amy Mackelden

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

1

Maleficent (2014)

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

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2

Cinderella (2015)

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

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3

The Jungle Book (2016)

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

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

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4

Beauty and the Beast (2017)

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

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5

Christopher Robin (2018)

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

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6

Mary Poppins Returns (2018)

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

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7

Dumbo (2019)

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

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8

Aladdin (2019)

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

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

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9

The Lion King (2019)

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

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10

Maleficent: Mistress of Evil (2019)

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

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11

Lady and the Tramp (2019)

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

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12

Mulan (2020)

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

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13

Cruella (2021)

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

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14

Pinocchio (2022)

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

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15

Peter Pan & Wendy (2023)

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

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16

The Little Mermaid (2023)

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

The Little Mermaid hits theaters on May 26, 2023.

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17

Snow White (2024)

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

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

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18

Moana (TBD)

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

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19

Lilo & Stitch (TBD)

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

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20

Hercules (TBD)

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

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Delia Paunescu

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

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

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

As a risk-reduction strategy
As a safer option

How has Disney leveraged nostalgia in recent years?

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

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

As a risk-reduction strategy
As a safer option

How has Disney leveraged nostalgia in recent years?

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

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

As a risk-reduction strategy
As a safer option

How has Disney leveraged nostalgia in recent years?

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

This approach has yielded substantial box office returns; for example, *The Little Mermaid* (2023) grossed over $550 million globally, surpassing the original’s earnings and reinforcing the commercial viability of nostalgia-driven remakes .

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Content: Home Movies

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

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

Image via Marvel Studios

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

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

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

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

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

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

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

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

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

About the author

Tom Meisfjord

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

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

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

BNN Correspondents
New Update

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

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Reimagining Inclusion in Fantasy

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

Standing Firm Against Racism

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

Attending to Details for Authentic Representation

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

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

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How has Disney leveraged nostalgia in recent years?

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

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

How has Disney leveraged nostalgia in recent years?

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

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

To adapt timeless stories for modern audiences, Disney systematically updates narratives and characters.

*The Little Mermaid* (2023) portrays Ariel as 18, emphasizing independence and self-discovery, and introduces new characters and songs to enrich the narrative .

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‘The Little Mermaid’ swims to No. 1 at box office with $38 million opening day

Disney's live-action remake of the classic animated musical hit over 4,000 theaters nationwide Memorial Day weekend.
/ Source: Variety

Disney’s live-action “The Little Mermaid” is making quite the splash at the domestic box office this weekend, with an opening day total of $38 million.

The fantasy, which is opening in 4,320 theaters, is expected to gross between $120 million and $130 million over the four-day Memorial Day weekend.

The musical remake, starring Halle Bailey as the mermaid princess Ariel, took in $10.3 million in previews on Thursday, ranking as the seventh-highest haul for a movie rated G or PG. That puts the film on track to gross well over $100 million over the holiday weekend. With a $250 million production budget, “The Little Mermaid” must bait box office success in order to make a reasonable return.

Fast X,” the tenth installment in the “Fast and Furious” franchise, debuted last weekend to a cool $67 million Stateside. This weekend, it’s estimated to bring in about $28 million over the four-day holiday weekend, which clearly puts in second place after “The Little Mermaid.”

“Fast X” is expected to cross the $500 million mark at the global box office this weekend, making it the third-highest grosser of the year globally.

“The Little Mermaid” is directed by Rob Marshall and also stars Melissa McCarthy as Ursula, Jonah Hauer-King as Prince Eric, Javier Bardem as King Triton, Daveed Diggs as Sebastian the crab, Jacob Tremblay as Flounder the fish and Awkwafina as Scuttle the seabird. It’s received mixed reviews, currently holding a 66% on Rotten Tomatoes. Variety‘s Peter Debruge, however, raved in his review that “Halle Bailey is all the reason that any audience should need to justify Disney revisiting this classic.”

*Beauty and the Beast* (2017) reimagines Belle as an inventor, adding agency and modern relevance .

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Content: The entertainment industry bases success on crowds. Movie studios pay attention to box office triumphs. Performing arts venues note the shows that sell tickets. Playwrights seek out the elements that capture audiences’ attention. Take away the crowds, and you have an industry in crisis. That is what happened in March 2020, when more than 83 million people changed their plans after hundreds of events worldwide were canceled because of the COVID-19 pandemic. The entertainment industry may have born the brunt of the impact of stay-at-home orders and their aftermath, when many people still were afraid to go into public areas or be part of large audiences in closed-in venues. The restaurant industry survived by offering takeout options. But how does a venue offer takeout entertainment?

The pandemic forced the entertainment industry to take a hard look at how to provide audiences with what they wanted and provide employees with jobs during a time when the only place people were going was outside. And they succeeded, in many cases, by offering alternatives in the digital realm and in outdoor settings.

One thing the pandemic didn’t change was the desire for human connection that entertainment satisfies, according to Nathan Line, associate professor at Florida State University’s Dedman College of Hospitality.

“It is the business of bringing people together,” Line said. “That desire for social interaction at a large scale is the thing that (differentiates) us as a species.”

Access for Everyone

The pandemic threw a curveball at the industry, changing people’s tastes and changing avenues for consumption.

Digital entertainment reigned supreme during COVID-19 because of an aversion to crowds, Line said, which led to consumers making bigger investments in home technology and having an incentive to learn that technology. Eighty-one percent of Americans said they communicated via video call at some point during the pandemic, according to a Pew Research Center survey in April. Digital tools took on a new relevance for 40%, who reported they used the internet or technology in new or different ways.

If consumers had been thinking about upgrading their home entertainment infrastructure like phones, TVs and computers, the time to do so was at the beginning of the pandemic, when they knew they were going to get more use out of it, Line said. And with more time at home, they could learn the associated software.

While in-person interactions came with a certain risk, programs like Zoom helped connect friends, family and colleagues. And features like Facebook Live helped people connect with entertainment events.

“The pandemic gave us not only the need, but also for many people the time to invest in learning that new technology in order to facilitate the kind of electronic or digital interaction that took the temporary place of social interactions,” Line said.

While live performances were paused, The Studio Theatre Tierra Del Sol published recordings of staged play readings including “Round Table: A Sort of LARP,” “Candida” and more for patrons to watch online. The Studio also created a series of virtual, 10-minute plays. And it offered a digital option for some Season 5 shows even after they went live.

Whitney Morse, artistic director for The Studio and The Sharon L. Morse Performing Arts Center, said last year she saw many theaters creating art and presenting it virtually. And most continue to offer that option to a lesser extent now that many venues are open again.

“I know I love being able to see theater from my home when I am not feeling well or just not up to putting on fancy clothes,” Morse said. “But also, there are many people who would love to come to the theater but can’t. Perhaps they have limited resources and or access to travel, or are homebound in some way. Or, they just don’t live close enough to see that production. Virtual productions solve all of those problems.”

The Orlando International Fringe Theatre Festival offered professional recordings in June of the festival’s live performances in May.

And they provide exposure to people around the world who might not be able to travel to the festival in Orlando, said Brian Sikorski, marketing director for Orlando Fringe, as well as another revenue stream for artists. “It’s now part of our world — we opened the gate to do digital and now I see no reason to close it,” Sikorski said.

Creating an Experience

The environments in which people consume entertainment, called servicescapes by industry insiders, impact one’s overall experience. Think about the lighting, the smells and the music in a restaurant, for instance. Social servicescapes — the people in those environments — can play a part in the experience, too.

In certain spaces, crowds are a detractor. But at an event like a Broadway show, they might be a benefit, Line said. For that reason, Line doesn’t expect the digital realm to replace live entertainment.

“No one wants to sit at home and watch ‘The Phantom of the Opera’ live in their living room,” Line said. “When I go to Broadway, I want to be in a big room with people enjoying that piece, and the same with orchestra — it’s not the same if you’re not there.”

Patrons who go out to the theater may experience a different form of entertainment than they expected.

The Players Theatre of Southern Oaks created a series of “in the round” plays when COVID-19 hit, with a smaller audience for a safer environment.

Fellow resident theater group the Vespians presents most of its plays, like November’s “Box and Cox” and “Morton’s Folly,” in a similar format.

It also offered a meet-and-greet and Q&A with the actors, giving audiences a glimpse into the show, and tea and scones, fitting to the British farces.

“As to the C formation for the audience, it gives them, we believe, the ability to envelop the actors in the action and to truly experience the plays in a more intimate way by almost becoming part of the scenery,” said Marilyn Mosel, Vespians president.

At a show like “Broadbend, Arkansas,” patrons find themselves surrounded on three sides by video projections of a serene cemetery with tree branches blowing in the breeze. Though not strictly “immersive theater,” The Studio includes elements in each production that help draw patrons into the action. And being an intimate space like a blackbox theater helps.

“At The Studio we do try to immerse the audience in an experience,” said Nathaniel Niemi, director of education and resident director at The Studio. “We describe it as intimate, up-close-and-personal storytelling.”

Brian Sikorski sees examples of “immersive” theater — theater in which audiences move through spaces, interacting with shows — popping up in the national theater scene, including Central Florida.

Orlando Fringe in 2020 performed its take on “A Christmas Carol,” in which patrons literally followed Ebenezer Scrooge around outdoors as he met the three ghosts of Christmas.

The play was born out of the pandemic, as the festival could perform it for small groups in the safety of the outdoors.

“But looking at it from an experiential (standpoint), because I’ve seen many different (forms of) immersive theater and taken part in it, it really brings you into the experience,” Sikorski said. “You really feel like you’ve broken the fourth wall and are part of the narrative and that can be really interesting.”

In a show like the self-explanatory “A Young Man Dressed As A Gorilla Dressed As An Old Man Sits Rocking In A Rocking Chair For Fifty-Six Minutes And Then Leaves,” the audience just may become the show.

“The question becomes: Is this the show? Or is the audience reaction to what they’re seeing the show?” Sikorski said. “Fifty-six minutes is a long space of time (with) no one saying anything, so what’s happening is, each time you see it people react differently: people get up, people get on the stage and perform in front of it and perform a monologue, dress up the gorilla, all kinds of things.”

Martin Dockery plays Jimmy Walker, the former mayor of New York City, in “Tammany Hall,” an immersive play in which audiences witness the events of the mayoral election night of Nov. 5, 1929.

Politicians, showgirls, gangsters and molls lead audiences through 15 rooms, four floors and 7,500 square feet at the Soho Playhouse in New York, a building which those characters would have frequented at the time. “First of all it’s fun, and as far as a unique theatrical experience you are not just watching a show through the invisible fourth wall, you are fully stepped into the play, so it becomes not just three-dimensional but four-dimensional, in their world,” Dockery said.

And audiences don’t just play bystander: they can speak out for or against ideas like corruption as the election plays out.

Immersive shows like that one, “Sleep No More,” “Speakeasy Times Square,” “Bottom of the Ocean,” “Odd Man Out” and more are playing again in the city.

Curating the Offerings

Venues tended to book mainstream acts rather than unknown performers during COVID-19, said Michael Blachly, director of Opening Nights, an annual performance series spanning from fall to spring at Florida State University. “I’m contracting artists I think are easily understood by audiences and are easily marketed,” Blachly said of the recent season. “I’m not going to go on a limb with more esoteric or new works. It’s hard to get people convinced to get in the space.”

Tribute shows are a reliably popular genre here in The Villages.

The entertainment company Victory Productions brings in about 30 to 40 tribute acts like Absolute Queen, Almost ABBA and “The Rocketman Show” to Savannah Center each year.

Many of those acts pay tribute to artists who are dead or no longer touring, providing the unique experience of being able to hear the music live again, Victory Productions executive director Fernando Varela said.

“Nostalgia is everything,” Varela said. “For all of us. It’s very powerful to be transported back to a different time and that’s what nostalgia does.”

And it is as much about the experience as it is about the music. That may be why Varela sees those acts gaining in popularity even outside of The Villages.

“They’re creating something in the moment — whether it’s sports or music, it is exciting and adds an X-factor to the experience and makes the nostalgia that much more powerful,” he said. “It’s more powerful to be there hearing them in person than hearing it in your car. It’s just different.”

Nostalgia is proving powerful in other parts of the industry, too. Ask an individual, and they may not be thrilled about another “Ghostbusters” sequel. But the numbers don’t lie, said Brendon Rogers, executive director of the Central Florida Film Festival.

Films centered on pre-existing elements — remakes, adaptations, sequels and reboots — in the past 10 years have had more box office success than original stories, according to American Express Essentials.

Those movies have a built-in fanbase already familiar with the premise, Rogers said, making them less risky to movie studios. Considering the cost of movie production and the myriad entertainment options consumers have on hand, studios will choose the less-risky option.

“If it’s familiar, especially if it’s (something) they like … I think that plays into people going to see it,” Rogers said. “In a way, it’s sort of like comfort food, on some emotional level.”

The same can be said for Villages residents, according to Craig Wolf, film booker for The Villages.

“They like any film that reminds them of the life they lived — historical pieces, war films, anything based on a true story, anything based on a popular book they have read,” Wolf said.

When considering a movie to book at Old Mill Playhouse, the easiest way to locate a picture is to look at who is starring in it, he added.

“Yesteryear stars like Michael Douglas, Tom Hanks, Meryl Streep … these are certainly movies to book regardless of what studio distributes them, be it mainstream or independent,” he said.

Residents here gravitate toward films about the places they are from, the sports teams they support and the politics they associate with, among other categories, he said, noting returning customers who were drawn to screenings here last winter and spring.

“They are returning because we are currently offering several of the topics I have mentioned, things they look for when deciding to see a movie,” Wolf said.

On a national scale, “comic book movies” and “spectacle” movies — ones that suspend disbelief — tend to do well, Rogers said, which he doesn’t expect to change any time soon.

But neither genre, celebrity or any other single factor can determine box office success.

“Hollywood has a business model that contains an art form, so there is no way to gauge the way you could if you had a restaurant chain or made golf clubs or had a widget-type business where you know exactly what it’s going to be every time,” he said. “You don’t really know.”

Senior Writer Liz Coughlin can be reached at 352-753-1119, ext. 5304, or liz.coughlin@thevillagesmedia.com.

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

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

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

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

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

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

The character who really needed a change was Eric.

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

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

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

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

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

The Little Mermaid swims into theaters on May 26.

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*Aladdin* (2019) expands Jasmine’s role, giving her a new song, “Speechless,” to highlight her leadership aspirations .

*Mulan* (2020) removes musical elements and focuses on Mulan’s journey as a warrior, reflecting contemporary values of empowerment and cultural authenticity .

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

She’s a good kid.

Photo courtesy of DISNEY

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

Photo courtesy of DISNEY

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

The upcoming *Snow White* remake will feature a protagonist motivated by leadership rather than romance, signaling a shift toward empowered female characters .

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Content: 2023 marks Disney’s 100th anniversary. However, in terms of their films, the classic animated adventure Peter Pan is also celebrating its 70th anniversary this year. Now to celebrate both Disney and the boy who never grew up, Funko’s adding new Peter Pan Pops! to their Disney 100 line.

The Funko Pops! include Peter Pan with his flute, Captain Hook, Wendy flying through the air, Tinker Bell on Mirror, Tinker Bell Trapped deluxe figure, and a Mermaid. These Pops! do a great job of capturing the bright color scheme of the original animated film. Also, while Pops! all uniformly look the same, the expressiveness of the character designs are alive and well with these figures. However, the crown jewel of this new collection is the Peter Pan and Tinker Bell Movie Poster Pop! This piece recreates the film's iconic hand drawn poster that depicts Peter and Tink flying high in the air against a tree filled backdrop. Both characters are Pops! with Tink being an adorable mini figure. Tink also has the nice added detail of a pixie dust trail following behind her and the stump of the tree appears to be a 3D model. Like all the previous Pop! Movie Posters, this premium figure comes in a protective case and can be mounted on the wall. Peter Pan now joins Dumbo and Lady and the Tramp as Disney films in this artful collection.

Peter Pan’s Legacy Lives On

While Disney was well established by the time the 1950s rolled around, it was in this decade where the classic magic of the studio was fully formed. Nowhere is that more apparent than in Peter Pan. Based on the novel Peter Pan & Wendy by J.M. Barrie, this animated adaptation had it all. Action, adventure, fantasy, wide-eyed wonder, and mature themes that’ll bring a tear to anyone’s eye. Everyone has a fear of growing and the character of Peter Pan embodies that gut-punching terror perfectly. When you add the breathtaking animation and the timeless music, Peter Pan is a top tier Disney film. So much so that characters like Tinker Bell would become one of the company’s biggest moneymakers with multiple spin-off shows and movies that have delighted kids around the world for decades. The film’s direct-to-DVD 2002 sequel Return to Neverland is also one of the best adventures of that particular Disney era.

RELATED: Ariel Relaxes With Friends in New 'The Little Mermaid' Funko Pop Figure

Just last month Disney celebrated the 70th anniversary of the series with the release of the live-action remake Peter Pan & Wendy on Disney+. Like the 2002 sequel, it has quickly become one of the best films of Disney’s current remake era. Director David Lowery recaptured the fairy magic with a visually stunning adaptation that expanded upon Peter and Hook’s relationship in some pretty compelling ways. It was so good that it was puzzling why Disney didn’t put the film in theaters. Especially since Lowery’s last Disney remake Pete’s Dragon was not only released theatrically, it was a critical darling.

Relive the Magic on Disney+

The original animated Peter Pan, Return to Neverland, and Peter Pan & Wendy are all streaming currently on Disney+. You can pre-order these new Peter Pan Disney 100 Funko Pops! on Entertainment Earth’s website now. While you wait for your new magical Pops! to arrive, you can watch the trailers for Peter Pan down below.

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Content: The Cast of 2017’s “Beauty and the Beast” Live-Action Movie

When Disney first announced a remake of its 1991 classic, Beauty and the Beast, there was a bit of skepticism on if it wasn’t best to leave things as they were. Many of the world’s population had their childhood shaped by some of these Disney characters.

Then again, Disney has a reputation for excellence. And so, in faith, we waited and were graced by the remarkable live-action remake. Beauty and the Beast (2017) went on to be the highest-grossing live-action movie of 2017. With a budget of $225 million, it was a box office hit grossing $1.264 billion.

It’s no easy feat to bring one of the world’s most popular fairytale stories to life. To this end, here is the iconic cast for 2017’s Beauty and the Beast live-action movie.

Belle (Emma Watson)

Credit: Beauty and the Beast

Emma Watson is Hollywood’s sweetheart and can practically do no wrong in the eyes of her fans and admirers. Starting her professional acting career as Hermione Granger in the Harry Potter movie series, there has always been a sense of innocence in her acting style.

No other was perfect to be cast as Belle in a live-action Beauty and the Beast remake. While most of the story and characters stayed the same, Belle’s life before meeting the Beast was slightly tweaked. Besides knowing she loved reading books from the original animated movie, there needed to be a backstory that’ll make sense in a live-action movie.

Like her father, she became an inventor who designed a type of washing machine to afford her enough time to read. Belle goes in search of her father and finds herself in a mysterious castle. She meets the Beast, and both will fall in love and help break the enchantress’s curse.

Beast (Dan Stevens)

Credit: Beauty and the Beast

What’s a Beauty and the Beast storyline without the Beast? With motion capture, Dan Stevens plays the character of Beast. Beast gets transformed when he meets an enchantress who places a curse on him.

She leaves him with a rose flower, telling him to find love and receive love before all the petals fall from the flower. Beast would eventually find love in Belle.

Gaston (Luke Evans)

Credit: Beauty and the Beast

Luke Evans plays the main antagonist, Gaston. Gaston is a handsome, arrogant, and narcissistic skilled hunter who wants to marry Belle. However, the more she refuses to love him, the more he feels the need to have her.

When he discovers Belle has fallen in love with the Beast and not him, he jumps on an opportunity to mobilize the villagers to kill the Beast.

Maurice (Kevin Kline)

Credit: Beauty and the Beast

Kevin Kline plays the character of Maurice, Belle’s father. While going to the market, Maurice gets lost in the forest and flees into the nearest castle to escape attacking wolves. But, unfortunately, he’s kept prisoner by the Beast.

When his horse returns home without him, Belle sets out to find him. She pleads with the Beast to swap places with her father. Maurice is released and tries to mobilize the villagers to help free his daughter Belle.

LeFou (Josh Gad)

Credit: Beauty and the Beast

Josh Gad plays the character of LeFou, Gaston’s closest friend and ego booster. He loves animals, but although illiterate, he’s not one to always agree with Gaston’s decisions.

When Gaston abandons him, he teams up with the servants in Beast’s castle. LeFou realized almost too late how egoistic and unkind Gaston was.

Lumière (Ewan McGregor)

Credit: Beauty and the Beast

The Scottish actor, Ewan McGregor, plays the character of Lumière. Lumière is Beast’s charming maître d’. With the enchantress curse, Lumière gets transformed into a candelabra.

Cadenza (Stanley Tucci)

Credit: Beauty and the Beast

Tucci plays Cadenza, the neurotic maestro and composer in Beast’s castle. The enchantress’s curse turns him into a harpsichord. Cadenza is also the husband of Madame de Garderobe.

Madame de Garderobe (Audra McDonald)

Credit: Beauty and the Beast

What’s a neurotic maestro without his singer? Audra McDonald plays Madame de Garderobe, a world-class opera singer in the Beast’s court. She’s also the wife of Cadenza. She’s transformed into the ever-cheerful wardrobe character.

Plumette (Gugu Mbatha-Raw)

Credit: Beauty and the Beast

Gugu Mbatha-Raw plays and provides the voice-over for Plumette. Plumette is a maid in Beast’s castle and the love interest of Lumière. But, unfortunately, the curse transforms Plumette into a feather duster.

Cogsworth (Ian McKellen)

Credit: Beauty and the Beast

Ian McKellen is known for playing the roles of Magneto in X-Men and Gandalf in the film adaptation of The Lord of the Rings. He takes on the character of Cogsworth in this movie.

Cogsworth is the stern-looking butler in Beast’s castle. As the butler, he also doubles as the head of the castle’s staff. The character gets transformed into a mantel clock by the enchantress’s curse.

Mrs. Potts (Emma Thompson)

Credit: Beauty and the Beast

Every castle needs housekeepers and one to control its affairs. Emma Thompson portrays and voices the adorable Mrs. Potts, who gets transformed into a teapot by the curse.

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Diversity and representation are central to these adaptations.

The casting of Halle Bailey as Ariel in *The Little Mermaid* was a deliberate move toward inclusivity, sparking both praise and backlash but ultimately contributing to the film’s cultural