Disney is redoing the animated classics about Princesses. In these versions, the Princesses don’t need a man, and don’t need true love. In the old stories, the protagonist spent the film trying to find true love. Not in these newer, more woke versions.
In 1937 the cartoon [Snow White and the Seven Dwarves] was so focused on her finding true love, and it’s not even in her mind at all in this film
Nope, in this film, the actress playing Snow White calls herself “Lantinx” and says that her character doesn’t want love, she wants power:
We keep a lot of the meat of the film that made us all fall in love with this film. It’s really her, and her gumption. And just excitement for the life above [her] world. So it’s amazing, but it’s also updated with the current times. I think she really just goes for what she wants. She’s not scared. And it’s not all about a boy. It’s all about what she wants for herself, and her life.
The new version of Little Mermaid is no different. This story is being redone with a black actress, the Prince that she is so attracted to that she decides to trade her voice in order to become human and win his love? Yeah. That doesn’t happen in this new version.
The original themes of the classic Disney films were about the power of love, purity, loyalty, and honor, and how those attributes could conquer all. What made the antagonists so evil was their lust, vanity, and greed.
Now Disney in its new generation has flipped the entire theme upside down. The protagonist doesn’t want love. They want power. The new generation is all about the love of power, greed, and coercion.
When the original Snow White was released in 1934, it was so popular that Walt Disney won an honorary Academy Award for his pioneering achievement. The music for the film, featuring Snow White’s famous ballad, “Some Day My Prince Will Come” was also nominated for an Oscar.
The studio re-released Snow White in 1944, during World War II; thereafter, it was released repeatedly every decade or so, a pattern that became a tradition for Disney’s animated films. Its power continues to endure: In June 2008, more than 60 years after its U.S. release, the American Film Institute chose Snow White and the Seven Dwarfs as the No. 1 animated film of all time in its listing of “America’s 10 Greatest Films in 10 Classic Genres.”
That isn’t good enough for woke Disney. They don’t want timeless tales where love conquers all. The classic happy ending viewers would come to expect as a Disney trademark as the dwarfs defeat the villainous queen and Snow White finds love with a handsome prince isn’t what the new Disney is about.
The new Disney wants racial strife, sending stupid messages about feminism, and has flipped the traditional Disney message on its head. The protagonists and antagonists in the films have traded attributes. The new films are all about power for power’s sake. Winner take all.
Perhaps love and contentment isn’t what this new generation wants at all. Maybe that is why they seem so angry and so miserable all of the time.