Disney and the Brainwashing "One Iconic Version"

Once upon a time, fairy tales featuring similar (but different) subjects and storylines circulated alongside each other. For instance, during the nineteenth century, Jeanne-Marie Leprince du Beaumont's "Beauty and the Beast" was nearly as popular as Marie-Catherine d'Aulnoy's "The Ram" and "The Green Serpent." The same is true for Charles Perrault's "Cinderella" and d'Aulnoy's "Finette-Cinders." 

Today, though, only "Beauty and the Beast" and "Cinderella" remain widely known. I wonder what happened to the now unheard-of variants, which had more active female protagonists alongside deeper themes. 

Could it be the nature of mass-produced movies? These tell stories by imparting images, rather than words, into the minds of audiences. Plus, images create stronger attachments than words. 

Before Walt Disney

As Anne E. Duggan explained in her book The Lost Princess, "Cinderella" and "Beauty and the Beast" circulated alongside "Finette-Cinders," "The Ram," and "The Green Serpent" through the nineteenth century. The latter three even took on their own oral twists and inspired stage musicals called pantomimes. For instance, British dramatist James Planché adapted "The Green Serpent" into The Island of the Jewels.

The original oral format of fairy tales gave them multi-generational appeal. After the industrial revolution sent more people away from home and increased print culture, fairy tales moved into the nursery. It took just one more thing to end the circulation of d'Aulnoy's tales. 

The Rise of Movie Tales

Multiple fairy tales hit the silver screen in its early days. One of these, a production of the Grimm Brothers' "Snow White," inspired Walt Disney to produce Snow White and the Seven Dwarves. That film immediately became a hit towards the end of the Great Depression, when many turned towards entertainment for escapism. 

Over twelve years later, Cinderella produced a similar reaction among postwar audiences. Walt Disney identified with the "rags-to-riches" storyline of Perrault's tale; he did not adapt the Grimm Brothers' version because he found it "too violent." 

In between, French filmmaker Jean Cocteau adapted "Beauty and the Beast" into a back-and-white film. Subsequently, Walt Disney wanted to adapt the same tale. Even though Cocteau's version qualifies as more an "art film" than a commercial blockbuster, that may have erased memories of "The Ram" and "The Green Serpent" long before the Disney animated film came into existence. 

When Disney's Beauty and the Beast came out in 1991, it cemented the idea that the tale is not complete without a waltzing ballroom dance. Likewise, back in 1950, Cinderella convinced audiences that the story always needs a fairy godmother, pumpkin carriage, and a glass slipper. 

Disney's Takeover

Kenneth A. Myers wrote in his book All God's Children and Blue Suede Shoes, "Up until the last decade or two, popular culture has tended to rely on high culture and folk culture for its raw material" (70). Walt Disney took inspiration from folk culture for his works. He even once said, as noted in The Official Walt Disney Quote Book, "Our motion picture productions are designed to augment [literary fairy tales], not to supplant them" (181). 

However, as with much of popular culture, the Walt Disney Company eventually adopted the idea that there is nothing "higher" to adapt from. The beginning of animated sequels during the 1990s and the recent chain of live-action remakes (many of which follow a shot-for-shot format) serve as evidence. 

That's not all; the ABC television series Once Upon a Time and Disney Channel's Descendants featured characters and elements from Disney fairy tales. Disney Publishing also has multiple series centering on the animated tales, including the young adult Twisted Tale series and the Meant to Be romance novel series of contemporary re-imaginings. As Emily Zemler wrote in Disney Princess: Beyond the Tiara, "... most modern audiences now recognize a Disney version of a fairy tale as the most familiar interpretation" (60). 

Of course, some might consider "Cinderella" to be an exception. Besides the 1950 animated film, many people recall the Rodgers and Hammerstein Broadway musical and film re-imaginings such as Ever After, Ella Enchanted, and the teen-centric A Cinderella Story. Of course, we cannot forget the 2015 reimagining of the animated film. Yet, the problem is that they all point to one succinct literary tale by Charles Perrault.

 

The Problem with the "One Iconic Version":

Over the past century, the visual medium of film adapted one tale from each type by appealing to the emotions. The fairy godmother and glass slipper in Cinderella and the ballroom waltz in Beauty and the Beast touched emotions so much they erased memories or even possibilities of any other version. 

The "one iconic version" has been made possible by mass-produced film. According to Kenneth A. Myers, such visual mediums "establish feelings of resonance. Images remind us of things. They involve recognition more than cognition" (164). Stated differently, mass-produced fairy tale films barely give viewers any time to think or reflect on other versions. 

When fairy tales were dominantly oral and in print, forms that encourage reflection, there was more room for several similar tales to co-exist. Allowing co-circulation of similar stories gives readers access to a variety of story structures and role models, rather than brainwashing them with the one path of "get saved by a prince, marry, and live happily ever after." 

Popular culture, with its demand for substantial formulas, brought in the repetitive marriage endings at the end of most of Disney's "princess" films. Even if getting married is not seen as a "remedy" in the overall film, the visual endings have ingrained the idea of life ending after marriage into many girls' minds. 

Disney princesses may pass on unrealistic expectations to young girls, but the problem is not the modeling alone, but the visual medium. Charles Perrault's "Cinderella" features a protagonist as passive as Disney's version, but at least the literary format gives more room for thought. Hence, first introducing the child to Perrault's literary version, alongside versions with more active protagonists, is healthier for their mind. 

Benefits of Different Versions:

When a child is excessively exposed to one version of a certain fairy tale, it gives them the mindset that stories can only be told in one way. Such a fixed mindset creates unrealistic expectations for their adult life. Exposing children to different versions of a tale type sends the message that there are different ways to tell a story, as there are different lives they can lead. It encourages creative thinking. 

I'm not saying this for sure, but this might be a problem underlying the lack of creativity of modern Disney. Many of today's young adults grew up watching VHS tapes of Disney films on repeat, eroding the traditional idea that there are many fairy tales under a similar type or that fairy tales can be told without the "Disney ingredients." 

Yes, Disney is retelling their stories via various book series and live-action remakes, but these (if not supplemented by non-Disney versions) reinforce the idea that the "Disney way" of telling these tales is the only right way. Besides, many Disney and/or animation fans critique the minor changes they made as "missing the point." 

I am not saying that there's anything inherently wrong with liking Disney fairy tales. Perhaps I am a fan of these stories myself, with the animated Beauty and the Beast being one of my favorites. What I am saying is that, as with anything in popular culture, these stories need to be supplemented with works of higher culture, particularly the written tales with a greater variety of endings. These, of course, include some of the Grimm Brothers' and Hans Christian Andersen tales that inspired the Disney takes. 

To counteract the denigrating effects of the "one iconic version," I encourage you to check out different versions of the tales that inspired Disney. A few examples include the Grimm Brothers' Cinderella with the tree and white birds and the Nordic Beauty and the Beast-type tale: East of the Sun, West of the Moon. I also encourage you to read the non-Disney fairy tales, including the Grimms' Snow White and Rose Red with its sisterly themes. Finally, find opportunities to share these tales with the children in your life. 

Conclusion:

As the apostle Paul wrote in 1 Corinthians 10:23, "'All things are lawful,' but not all things are helpful. 'All things are lawful,' but not all things build up" (Holy Bible, English Standard Version). This easily applies to Disney fairy tales; it is not the most cognitively healthy to watch them too many times. It is much healthier to read a written fairy tale repeatedly. I would rather have my child request a certain picture book on repeat than an over-stimulating movie. 

Countering the "one iconic version" mindset, as implied above, will take frequent exposure to non-Disney fairy tales and then passing them to our children. No child (or adult) should only take in Disney tales; instead, they should develop their creative thinking. It will help them write their own fairy tales in a God-honoring way. If this happens, multiple similar tales can circulate alongside each other once again. 

Works Referenced:

Duggan, Anne E. The Lost Princess. Reaktion Books, 2023. 

Holy Bible. English Standard Version, Crossway, 2016.

Myers, Kenneth A. All God's Children and Blue Suede Shoes. Crossway, 1989, pgs. 68, 70, 164. 

The Official Walt Disney Quote Book. Disney Editions, 2023, pg. 181. 

Zemler, Emily. Disney Princess: Beyond the Tiara. Disney Enterprises, 2022, pg. 60. 

The Princess and the Goblin (Film)

Image source. IMDb. (n.d.). [Joss Ackland, Claire Bloom, Sally Ann Marsh, Rik Mayall, Peggy Mount, Mollie Sugden, and Peter Murray in The Princess and the Goblin (1991)]. Retrieved 28 May, 2025, from https://www.imdb.com/title/tt0107875/mediaviewer/rm572654592/?ref_=ext_shr_lnk.

Multiple little-known fairy tale animations exist. One of them is an adaptation to the novel The Princess and the Goblin, which came out the same year as Disney's Beauty and the Beast.

The movie has a sense of mystery. I especially enjoyed watching Princess Irene (Sally Ann Marsh) explore the hidden chambers of her castle to discover her "great-great grandmother" (Claire Bloom) alongside a spinning wheel; such scenes invited me to put myself in her shoes. However, Irene's grandmother's presence can convey the nonbiblical idea of the dead contacting the living.

Another highlight of The Princess and the Goblin is the sentiment, such as when Princess Irene felt as if she left her servant Looti (Mollie Sugden) down. Her hugs with her father (Joss Ackland) and Curdie (Peter Murray) also stand out, as well as Irene's mission centering on the classic "good versus evil" conflict. Of course, there is plenty of tension involving the villainous goblins. 

That's where my greatest complaint comes in: the goblins are not pleasant to look at. Their frequent spitting and juvenile gags add to the burden of watching them. 

The Princess and the Goblin, overall, is not the most visually stunning animated film. I appreciate how the palette is neutral, but I subsequently find it dull. Some of the cave scenes, especially, were boring. The hand-drawn animation also comes off plain, but I appreciate the shadows. 

One scene I find visually and tonally striking is when the goblin cat enters Irene's room overnight, causing a fight with her cat Turnip. It is among the most thrilling parts of the movie. 

The Princess and the Goblin also has a well-orchestrated score. The opening score has a heavy, old-timey vibe that suits the film's fairy-tale plot. It also has one goblin-scaring song sung by Curdie at least twice, which sounds neither impressive nor irritating. The singing may not be the best, but the voice acting is otherwise memorable. 

From a writing standpoint, the characterization is flat. Princess Irene has no goals that motivate her before the goblins pull her and Turnip underground. I also dislike how the princess's name is pronounced (eye-REE-nee rather than eye-REEN). Curdie's character also mostly revolves his work in the mines alongside his father (William Hootkins). 

The Princess and the Goblin is not a terrible movie, but if you haven't read the novel and prefer more color in animation, you're not missing anything. 

SCORE: Okay (6/10)

AGE RATING: 6+

Have you seen The Princess and the Goblin? What do you think about it?

The Golden Goose

Image source: IMDb. (n.d.). [Die goldene Gans (1964)]. Retrieved 15 May, 2025, from https://www.imdb.com/title/tt0183126/mediaviewer/rm1297390592/?ref_=ext_shr_lnk.

Some non-Disney Grimms' fairy tales have film adaptations from other studios. "The Golden Goose" is one example.

Siegfried Hartmann's 1964 take on The Golden Goose is mostly faithful to the original story. For those unfamiliar with it, it follows the youngest brother of three, who cuts down a tree to find a golden goose. As he brings the goose to the inn and to the castle, whoever touches him gets stuck. That gets the princess laughing. Before the marriage, a few more tasks precede the marriage.

However, the film makes multiple minor changes to the story. For instance, Dummling (his name in the original story) has been changed to Klaus (Kaspar Eichel). In addition, their mother and father, who were mentioned in the original tale, make no appearance. The innkeeper also has two daughters instead of three; Lies (Katharina Lind) and Gret (Renate Usko) additionally get stuck to Klaus before they arrive at the inn. Finally, the hungry old man becomes an old woman who takes no part in the pre-marriage tasks. 

Another creative change is seen in multiple Disney films: the addition of a "troublemaker" villain who plans to kidnap the princess (Karin Ugowski). The last task involves not the old woman, but him. 

The best parts of The Golden Goose are the technicolor palette (especially for Lies's red hair and the solid-color dresses) and the festive score. The instrumentals, like that in Three Hazelnuts for Cinderella, make me think of holidays. There are also a few songs, even though the film is not completely a musical. 

The characters, though dubbed, are also charming. I especially appreciate how the princess has her moments of agency despite her submission to her father's arranged marriage plan. It is also interesting how Lies looks slightly like Anna from Frozen and the princess's dress and hairstyle is slightly reminiscent of Disney's Cinderella. Yet, they lack depth because the film is mostly faithful to the source material. 

Overall, The Golden Goose is a festive treat for fairy tale fans who want to go beyond Disney. A bonus is that it is just over an hour long. 

SCORE: Good (8.5/10)

AGE RATING: 6+

Have you seen The Golden Goose? What do you think about it?

The Red Shoes

Image source: IMDb. (n.d.). [Moira Shearer in The Red Shoes (1948)]. Retrieved 13 May 2025, from https://www.imdb.com/title/tt0040725/mediaviewer/rm311467520/?ref_=ext_shr_lnk.

Not all famous fairy-tale movies come from Disney; perhaps many fairy tales have no Disney version. 

Hans Christian Andersen's "The Red Shoes," which has a 1948 ballet-themed adaptation, is a prototype. It does not have the "happily ever after" ending prevalent in Disney movies. Instead, it is a cautionary tale about a girl whose red shoes won't stop moving, conveying the danger of material dedication. 

Released a few years after World War II, film critic David Ehrenstein wrote in his essay "Dancing for Your Life" that The Red Shoes portrays "artistic dedication, even unto death." Some viewers might agree, but the film displays some negative consequences. For instance, the lead dancer Victoria "Vicky" Page (Moira Shearer) gets so taken over by her red shoes she misses a recital and injures herself. 

The original Hans Christian Andersen tale ends with the dancer repenting of her sin while wearing replacement feet. Afterward, her soul goes to Heaven. This element is removed for the film, either for visual concreteness or to encourage dying for the arts. The shoemaker, a woman in the original tale, is also a creepy-looking man in the film (foreshadowing the danger that comes with the red shoes).

Another element in the film that was not present in the original tale is the triangle between Vicky Page, her manager Boris Lermontov (Anton Walbrook), and her lover Julian Craster (Marius Goring). Boris tries to control Vicky (a toxic relationship sign) by forcing her to dance. Besides, unlike in Disney films, Vicky and Julian do not marry. If Vicky did not let the red shoes consume her, they would have.

Filmed in technicolor, The Red Shoes is delightfully colorful. Vicky's red hair, red lips, and her outfits (including her bows) are especially pleasant to look at. However, some of her outfits are rather sexualized. The painterly backgrounds are another visual highlight. Plus, there are some magical transitions, such as when the red shoes appear out of nowhere. 

The classical score, including "The Red Shoes" ballet, is well-orchestrated and complements the story well. For instance, the score in dark during scenes involving the shoemaker. The Red Shoes even has references to other ballets, such as "Swan Lake." 

One critique I have for The Red Shoes is its overly broad focus on the ballet company. It would have been more enjoyable with a stricter focus on Vicky and her desires from the start. The film, which runs over two hours in length, also could have been condensed in a few areas.

Nevertheless, for movie lovers who need a break from Disney, The Red Shoes is a wonderful alternative. Perhaps we need to make "The Red Shoes" fairy tale popular again because it warns children about the dangers of material pursuits, encouraging them to put their trust in Jesus alone.

SCORE: Good (8.5/10)

AGE RATING: 10+

STREAMING SERVICES: Max

Have you seen The Red Shoes? What do you think about it?

Sleeping Betty-An Animated Inversion of Sleeping Beauty

Image source: IMDb. (n.d.). [Sleeping Betty (2007)]. Retrieved 6 May, 2025, from https://www.imdb.com/title/tt1121969/mediaviewer/rm386573825/?ref_=ext_shr_lnk.

When one thinks of animated adaptations of "Sleeping Beauty," the Disney animated version comes to mind. Yet, there are other animations out there.

The nine-minute short film from 2007, Sleeping Betty, is one such version. The titular character sleeps from the start, prompting the side characters to wake her up in different ways while the prince makes his slapstick-filled journey on his white horse. Before they do so, the Queen sits in front of Betty and cries. 

My favorite aspect of Sleeping Betty is its ability to make a classic fairy tale about modern issues. Many parents have to wake up their lazy teenagers (represented by Betty) these days. Of course, a prince is often not going to save them. The side characters did not merely wait for the prince to come; they attempted (but failed) to wake her up before him. Each attempt brings plenty of humor. 

The character design is also surreal, with lots of marks; this is no Disney look. It is refreshing to see fairy tale animation take on a more serious look. The colors also appear in neutral shades in contrast to Disney's brighter color palette. Even though I am a fan of Disney's cute art style, it has yet to be taken seriously.

If I were to make a critique, it would be that the prince's horse journey strike me as rather aggressive. The neutral colors, though refreshing, also give the sense of an ordinary world. 

I also find it creative how they named the sleeping titular character Betty, which is structurally similar to "beauty." In most versions of the tale, including Disney's version, the sleeping beauty is Aurora (which sounds nothing like "beauty"). Plus, the prince is not the last to wake Betty up.

Viewers seeking a clever modern take on a classic fairy tale and/or a break from Disney's versions will find Sleeping Betty a refresher. 

SCORE: Great (9/10)

AGE RATING: 10+

Have you seen Sleeping Betty-An Animated Inversion of Sleeping Beauty? What do you think about it?

Alice in Wonderland (Disney Animated)

Image source. IMDb. (n.d.). [Sterling Holloway, Kathryn Beaumont, and Bill Thompson in Alice in Wonderland (1951)]. Retrieved 5 May, 2025, from https://www.imdb.com/title/tt0043274/mediaviewer/rm3814246656/.

Walt Disney's "Alice in Cartoonland" comedies were among his first projects. Over two decades later, he created an animated feature based on the same source material.  

The string of random events in Alice in Wonderland teaches the protagonist that a nonsensical world, though pleasant in theory, is overwhelming. Plus, the nonsense gives the film a mysterious feel (as if walking through a dark forest). The only event I feel is unnecessary to the plot is the walrus and carpenter story told by Tweedle Dee and Tweedle Dum (J. Pat O'Malley), which feels like a movie within a movie. Or maybe it teaches Alice (Kathryn Beaumont) a hard-to-catch subconscious lesson. 

The color palette is also among the brightest in the Disney animated canon, which complements its nonsensical (and psychedelic) world well. Alice grows and shrinks multiple times by drinking or eating certain substances (which serves as a controversial subtext for drugs in a G-rated cartoon feature). There are also lots of nonsensical creatures and phrases such as "merry unbirthday."

Unlike most classic animated Disney features, Alice in Wonderland acknowledges its cartoony-ness. For instance, Alice points out the talking and singing flowers (who sing "Golden Afternoon") and constantly scoffs off at the "nonsense" surrounding her. Of course, the nonsense also supplies a lot of humor, especially with Alice's growth spurts, and the nonsensical birds. 

Unfortunately, as with many old Disney films, its characterization leans rather flat. First, her sister (Heather Angel) is nameless. Besides, why is she teaching her and not her mother? The Queen of Hearts (Verna Felton), whose design I'm not a fan of, is also evil for evil's sake.

Besides, Alice's character trajectory is rather simple; she starts out longing for a playful world (while singing "A World of My Own") but gets a change of mind in Wonderland. Yet, she is still relatable. I felt for Alice multiple times, including for her separation from her cat Dinah and the multiple times she cried. 

The characters are all quite memorable for, if not their depth, their personalities. The excellent vocal performances and character designs (most of them) deserve the credit for it. I will not forget the March Hare (Jerry Colonna) and the Mad Hatter (Ed Wynn) for their iconic "Merry Unbirthday" tea party. Besides, as the funny-faced Chesire Cat said, everyone's "mad" in Wonderland. 

There are, of course, a few memorable action-packed scenes, the most notable being Alice's maze run at the end. There are also a few references to the Supreme Court, which struck me as an adult. 

The songs have a merry vibe, but some were forgettable. "A World of My Own" and "Merry Unbirthday" were among the most memorable, along with my favorite "Painting the Roses Red." 

Since Alice in Wonderland is full of nonsense, it serves as a perfect escape for a troubled day. Even better, viewers will feel thankful for reality by the end. 

SCORE: Good (8/10)

AGE RATING: 4+

Have you seen Alice in Wonderland? What do you think about it?

Tips for Parents of Princess-Obsessed Girls

For parents of little girls, princesses are everywhere. The ever-successful Disney Princess franchise has products sold in nearly every market. Plus, princess-centered tales like "Cinderella" and "Rapunzel" are among the most-common fairy tales found in children's treasuries. 

Of course, modern princess culture is full of controversies, from setting unrealistic beauty standards to romanticizing unhealthy romantic behaviors. From what I learned from my developmental psychology classes in college, early childhood is a critical time for brain development. About 95% of a child's brain is developed before age 6. Hence, it is crucial for parents to help their girls navigate the culture properly. 

Princess culture may be difficult to escape, but here are some tips for parents with princess-obsessed girls between the ages of 2 and 6:

1. Ask questions about princesses, since young children learn from discussions:
• "Why do you like [princess's name]?"
• "What do you like about princesses?"
2. Have the child draw a picture of themself as a princess, which exercises their imagination.
3. Check out books featuring positive portrayals of princesses, so that girls know that being a princess is not merely about beauty or romance:
• Interstellar Cinderella by Deborah Underwood
• Part-Time Princess by Deborah Underwood
• Princesses Wear Pants by Savannah Guthrie and Allison Oppenheim
4. Show age-appropriate children's TV shows with positive princess portrayals, especially if your girl is too young for most Disney films:
• Disney Junior's Sofia the First (where Disney princesses make guest appearances) and Elena of Avalor
• Certain episodes of PBS Kids series Super Why! (including "Cinderella" and "Sleeping Beauty")
• Certain episodes of HBO Family series Happily Ever After: Fairy Tales for Every Child (including "Rumpelstiltskin" and "The Little Mermaid"-streaming on Max)
5. Research and expose your girl to forgotten fairy tales featuring empowered princesses, which might inspire them to, someday, make these stories more known:
• Forgotten Fairy Tales of Brave and Brilliant Girls from Usborne, which features the lesser-known Grimms' tale "Snow White and Rose Red"
• Fairy Tales for Fearless Girls by Anita Ganeri
6. Offer non-Disney princess apparel for more creative play, since research shows that children play less creatively with movie or TV tie-in toys:
• Toddler dress-up trunk from Lakeshore Learning
• Princess Costume Role Play Set from Melissa and Doug

Some of you might accuse me for implying four-year-olds can't watch Disney movies once in a while. Yet, it's important to remember that just because something is popular among a certain age group does not make it appropriate. Besides, there are more age-appropriate ways for parents to encourage their preschool or kindergarten daughter's princess interest without letting them watch feature-length films for mere stimulation.

What advice do you have for parents wanting to raise confident daughters in our princess culture?