By Erich Schwartzel
LOS ANGELES -- About two years ago, employees who managed Walt
Disney Co.'s princess characters gathered to watch an extended
scene from an unreleased movie.
The executives had spent years cultivating Ariel, Elsa and Snow
White as highly profitable models of femininity. The footage they
saw, from this month's animated feature "Ralph Breaks the
Internet," revealed the princesses as everyday young women, on
break from their jobs as Disney royalty.
Elsa and Sleeping Beauty have their hair down and wear pajamas.
Snow White shows off her Coke-bottle glasses. Cinderella shatters
her glass slipper and thrusts it forward like a broken bottle at a
girl who walks into the room. Rapunzel asks her, "Do people assume
all your problems get solved because a big, strong man showed
up?"
"Everyone audibly gasped," according to a person present. In
their eyes, the scene broke all of the Disney rules that had built
the princesses into a lucrative brand.
For nearly 20 years, Disney employees have debated how far the
company should go in updating its heroines for the modern age. The
crux: How do you keep princesses relevant without alienating fans
who hold fast to the versions they grew up with? Billions of
dollars of revenue -- dolls, sequels, stage shows and dresses --
hang on getting that balance right.
Since "Snow White and the Seven Dwarfs" in 1937, the princess
characters have trained generations of young moviegoers on men,
women, relationships and love. The franchise, especially its older
films, has been criticized for promoting outdated notions of
femininity and damsel-in-distress narratives in which only a man
can save the day.
Parents are wrestling with the messages the stories send their
children -- is it acceptable for the prince to kiss Sleeping
Beauty, given she's sleeping? The tension has grown more pronounced
in an era of female presidential candidates, women's marches and
#MeToo.
Disney develops and manages characters such as Mulan or Rapunzel
similar to the way Apple Inc. handles new iPhone models, with a
secretive process that allows the princesses to debut in public
fully formed. Interviews with nearly two dozen current and former
employees working across Disney's sprawling princess operations
reveal a perennial push-and-pull over getting the mix of tradition
and modernity right, from producing remakes and merchandise built
around longtime characters to introducing new characters.
"They've tried to make the princesses more independent and to
have more of a voice, but at the same time there's a recognition
that there's also an appeal -- even if it's not as modern -- to
pretty dresses and beautiful castles," said one former Disney
executive.
Disney declined to make executives available for an
interview.
More than 80 years after "Snow White" hit theaters, Disney still
sells figurines, Grumpy costumes and themed Play-Doh sets. "Frozen"
has become one of Disney's greatest hits, spawning a sequel, a
Broadway adaptation and countless "Let It Go" downloads since it
hit theaters five years ago. The live-action remake of "Beauty and
the Beast" collected $1.26 billion at the global box office in
2017.
Employees who work on the princess brand -- they can number in
the hundreds when a new movie is in production, with groups across
consumer products, parks, animation and television -- try to find
the right balance that will resonate with the largest number of
fans. Hundred-page manifestos outlining the colors, language and
attitude that licensees and designers should use for each princess
are treated as gospel. Data is mined from sources ranging from
academic studies to toddler focus groups at the company's campus in
Burbank, Calif.
The characters have grown more complex over the years. That
hasn't prevented debates from forming in recent years over princess
outfits, live-action updates and the word "princess" itself.
"No matter how hard you try, a 4-year-old girl is going to want
to be a Little Mermaid," said one former Disney executive. "But if
they try to make Ariel into a lawyer, there's going to be a huge
backlash."
Disney's efforts must resonate with consumers like Lesley
Godbey, a 31-year-old mother of two in San Diego.
Ms. Godbey's daughters worship the Disney princesses, much like
she did growing up with Ariel and Belle in the 1990s. She even
dresses as Belle at fan conventions, posing for photos in the
character's signature canary-yellow dress.
When she's reading princess stories to her daughters, she also
wants them to know there's more to life than the fairy-tale
telling, so she has taught them a call-and-response.
If a story ends with "And they lived happily ever after," her
daughters chime in, "with lots of hard work and open
communication!"
kkk
After the "Ralph Breaks the Internet" screening, executives
worried that too many toys and apparel around the edgier version of
the princesses could overshadow the traditional representations,
according to a person familiar with the matter.
Retailers expressed interest in princess dolls and clothes
pegged to the "Ralph" release, this person said. Disney put
together some merchandise, including a doll set featuring the
princesses in everyday clothes as well as shirts for young girls
modeled after the princesses' pajamas. After fans embraced the
scene, some Disney executives questioned why they hadn't pushed
even more product around it.
The movie's filmmakers had a crucial ally for the updated
portrayal: former chief creative officer John Lasseter, who had
long wanted to bring the princesses down to earth, colleagues say.
Mr. Lasseter had received approval and support for the scene from
Disney Chief Executive Robert Iger, the CEO, according to people
familiar with the matter.
"If I were to make the movies you guys wanted me to make about
princesses, I would be murdered," Mr. Lasseter once told a group
raising concerns about the character Merida's cynical attitude in
"Brave," according to a former colleague. He said, "I couldn't make
the movies Walt Disney made today."
Mr. Lasseter couldn't be reached for comment. He left Disney
earlier this year following allegations he had inappropriately
touched subordinates. After the allegations surfaced, he sent a
letter to employees apologizing to "anyone who has ever been on the
receiving end of an unwanted hug or any other gesture."
His successors, Pete Docter at Pixar and Jennifer Lee at Disney
Animation, have strong track records of strong female characters in
movies such as "Inside Out" and "Frozen."
Among Disney's imminent tests: A sequel to "Frozen" is slated
for next year, and a small group of fans have called for a lesbian
love interest for Elsa. Live-action remakes of "Aladdin" and
"Mulan" are in the works. At Disney, and the industry in general,
sales of toys tied to movie releases have fallen in recent years,
putting more pressure on the princess team to sell dolls and
dresses.
Meanwhile, new role models, such as Rey, the lightsaber-wielding
protagonist of the Disney "Star Wars" features, have won over young
girls. The Disney television shows "Elena of Avalor" and "Sofia the
First" portray more independent heroines.
In October, actress Kristen Bell -- the voice of Anna in
"Frozen" -- told Parents magazine she dissects the older princess
narratives with her daughters.
"Don't you think it's weird that the prince kisses Snow White
without her permission?" she said.
Keira Knightley, a star of Disney's recent "The Nutcracker and
the Four Realms," said last month on "The Ellen DeGeneres Show"
that she's kept "The Little Mermaid" from her home because of
Ariel's decision to forfeit her voice to find love: "I mean, the
songs are great, but do not give your voice up for a man.
Hello?!"
Melissa Villaneuva, a 28-year-old mother of two in Los Angeles,
said her mother would show her movies like "The Little Mermaid" and
"Snow White" and tell her, as the credits rolled, "You have to find
someone to take care of you."
Movie nights with her son and daughter, ages 11 and 10, now
feature more empowered narratives like "Tangled" and "Brave."
"I don't want them to think like I did," Ms. Villaneuva
said.
kkk
The modern Disney princess business dates to 2000, when a
company executive named Andy Mooney attended a Disney on Ice show
in Phoenix. He found himself surrounded by young girls in homemade
princess costumes.
Why couldn't they buy such a dress at a Disney store? he
thought, according to published interviews. Mr. Mooney declined to
comment.
Until that point, merchandising for older Disney princesses went
on sale only if it was part of a coming movie's campaign. Mr.
Mooney's idea: Build a franchise that sells toys and dresses and
books about classic characters like Snow White and Cinderella along
with newer heroines such as Ariel and Belle.
In 2000, sales for the princess division were worth $300
million. By 2009, they had reached $4 billion, Disney says.
The new concept came with a crucial rule, invisible to most
everyday fans, that is still practiced by princess purists at
Disney today, employees say.
Animators must draw princesses' eyes looking in different
directions when they appear on the same lunch box or poster. That's
because the princesses are not to live in the same imagined
universe, even if they're adjacent to each other in the physical
world.
"Ariel and Belle wouldn't be friends. Cinderella and Snow White
wouldn't know each other," said one former Disney executive.
That rule was thrown out the window with the scene in "Ralph
Breaks the Internet" -- and breaking it was a major reason behind
some employees' consternation.
For several years following its creation, Disney's princess
franchise worked with both classic and modern characters, such as
Belle, known for her bookishness, and Mulan, the Asian warrior
princess. Remakes and merchandise related to the classic characters
renewed criticism of the old-fashioned narratives.
In 2009, Disney released "The Princess and the Frog," its first
animated princess movie in more than a decade, starring Tiana, the
company's first African-American heroine. It grossed a
disappointing $104 million at the box office. It remains the
company's lowest-grossing princess movie.
Tiana's introduction was a breakthrough, but the movie's
performance had the princess workers worried the word "princess"
itself was a liability.
With budgets for animated movies often approaching $200 million,
Disney needs to appeal to a range of young moviegoers to achieve
the blockbuster grosses that ensure profitability. The word
"princess," they worried, alienated boys.
The next year, a princess movie about the long-haired Rapunzel
was called "Tangled." Two years after that, a movie about Merida,
the pugnacious redhead princess was titled "Brave."
Sometimes the company's other attempts to steer away from the
girlier aspects of princesses backfired among some employees.
Before the release of "Frozen" in 2013, some consumer-products
executives thought moviegoers -- and specifically boys -- would
respond to Olaf, the goofy snowman sidekick of the film, people
familiar with the matter said. Mr. Lasseter didn't want the movie's
marketing to focus too much on the sisters and risk being written
off as just another princess movie, his former colleagues said.
For some Disney employees, Elsa and Anna embodied just the kind
of message they wanted to send -- only to see higher-ups play it
down for fear of alienating boys.
"The creative side has leeway and scope. And then there is this
massive, unwieldy side dictated by middle management that can
really dumb up the machinery, which is why you can have a
progressive film like 'Frozen' but then see that the company
focuses consumer products on Olaf," said one former Disney
executive who worked on the princess brand.
Olaf ultimately took a small role in a consumer products
campaign centered on the princesses, and stores still ran out of
dolls and dresses inspired by Elsa, the movie's strong-willed
heroine. "Frozen" collected $1.28 billion at the world-wide box
office.
Soon after "Frozen" came the adaptation of "Cinderella," the
first of several planned live-action updates to older titles. These
modern-day versions, employees say, forced Disney to look at its
classic characters with fresh eyes.
The prince in the 1950 "Cinderella" original has only six lines
of dialogue -- two of which are, "Wait!" Chris Weitz, writer of the
2015 live-action version, wanted to deepen the prince's character
to make him "worth Cinderella's attention." He said, "Cinderella
is, in a way, the most regressive fantasy of the Disney princess.
If you were just to read it, it says what you need to save you is a
handsome and wealthy man -- who in fact she doesn't know very
well."
Sections of dialogue were added to the 2017 live-action "Beauty
and the Beast" to contend with what director Bill Condon called the
"Stockholm syndrome" of a story about a young woman who falls in
love with her captor. Mr. Condon said he was pushed by Emma Watson,
the 28-year-old actress playing Belle, to include dialogue that
showed her resistance:
Beast: You think you could be happy here?
Belle: Can anybody be happy if they're not free?
The live-action "Aladdin," due for release in May, elevates the
role of Jasmine from the cartoon version, where she was often
secondary to Aladdin's antics. A live-action "Mulan," currently in
production for a 2020 release, features Chinese actress Liu Yifei
leading an Asian cast in the story of a young woman who disguises
herself as a man to join in a battle.
Even modern-day princesses have caused problems after they have
left theaters. Merida of "Brave," for instance, was considered "too
thick" in girth by some employees when the movie was first
conceived, according to employees. The argument was eventually
overruled.
In 2013, still selling figurines and posters of Merida a year
after the movie's release, Disney released a new image of the
character. The update, marking her official coronation as a Disney
princess, gave her a cinched waist and cleavage.
After fan outcry over the slimmer, glammed-up Merida, Disney
returned to the original version. For months afterward, employees
say, confused designers wondered: "Which version of Merida are we
using?"
The next test will come soon enough with "Ralph Breaks the
Internet." In the summer of 2017, Disney showed the princess clip
that had divided its own employees at an annual gathering of
die-hard fans, some dressed as princesses themselves.
The audience burst into applause.
Write to Erich Schwartzel at erich.schwartzel@wsj.com
(END) Dow Jones Newswires
November 17, 2018 00:14 ET (05:14 GMT)
Copyright (c) 2018 Dow Jones & Company, Inc.
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