With the exception of the dead patriarch, the family-given the musical name of Madrigal-is robustly intact and, as per the laws of melodrama, is intent on keeping it that way. What the fuck are you doing, man?”Įncanto turns the family-by-choice-and/or-circumstance on its head. Disney’s current plans for a live-action remake of Snow White were given a right scorching this week by Game of Thrones actor Peter Dinklage: “You’re progressive in one way but you’re still making that fucking backward story of seven dwarves living in the cave. The unlikely family comprised of Snow White and her adoptive uncles of diminutive stature raises hackles these days. Though the studio has introduced gay characters into recent movies, Disney is no stranger to charges of racial and cultural stereotyping.
The young buck turns to interspecies pals Thumper the Rabbit and Flower the Skunk, that poster child of olfactory inclusion. A few years after Snow White, Bambi’s mother was killed by a hunter early on in that movie. The classic onscreen Disney family was forged from real affection rather than genetic ties, and thus provided a harbinger of postmodern kinship. Disney’s latest, Encanto, its original songs expertly conjured by that sorcerer of music and words, Lin-Manuel Miranda, is back on or near the top: as of this week Encanto crowns the Billboard album charts, and the hit “We Don’t Talk About Bruno” has ascended to number two single, jostling Adele’s “Easy on Me” for pole position. The American family is the nurturer of democracy and the engine of consumption: launching trips to the movies and theme parks boosting living room demand for the on-demand offerings of Disney+ feeding the boundless appetite for merchandise.
That laser beam focus makes for heartwarming storytelling but, more importantly, good business. Beginning with Disney’s first animated feature film, Snow White and the Seven Dwarfs of 1937, the Mouse House’s message has always been about family.
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