Snow White is already an outdated chaos.
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Society reaches “peak awakening” around 2025, but Disney’s new Snow White movie misses the point. This remake of the 1937 animated classic Snow White and the Seven Dwarfs is a tribute to inclusivity, girl power, and eccentric “theater kids,” but it’s really nothing but the spirit or plot of the original — and audiences are unimpressed.
Those who appreciate the classic princess love story should be prepared to feel uneasy. Lead actress Rachel Zegler thinks such plots are outdated. In a controversial interview with Extra TV in 2022, she criticized the 1937 version, noting, “There’s a lot of focus on her love story with the guy who’s literally stalking her. It’s weird!” The new film, she says, “isn’t about a love story at all,” calling the changes “really, really great.” It’s an “inner journey” for Snow White as she finds her “true self.”
Even before those comments, Zegler was considered a controversial figure, with critics questioning why the Colombian-born actress was chosen to play a character described as having “skin as white as snow” — a controversy similar to that surrounding Halle Bailey’s casting as Ariel in Disney’s 2023 live-action adaptation of The Little Mermaid.
Racial discussions aside, Zegler’s comments have alienated not only nostalgic Disney fans but also those who still value traditional gender roles—a group that may actually be growing in the “soft girl era.” This online movement celebrates ultra-femininity, emotional vulnerability, and self-care, often as a form of gentle rebellion against hustle culture and hyper-independence—and fits right in with the original’s doe-eyed version of Snow White. In contrast, Disney’s postmodernism downplays concepts of royalty or hierarchy, emphasizing the “relatability” of its characters and deconstructing traditional patriarchal narrative structures to promote strong, independent women who don’t need a prince or long-lost father to save them.
And Snow White’s love interest reflects this shift, too. Gone is the stoic, noble prince. In his place, we have Jonathan: an irreverent peasant who leads a merry band of misfits. He’s more like Lin-Manuel Miranda, the living embodiment of Kyle Gordon’s new song “We Will Never Die.” To top it all off, he delivers most of his lines with the smug cadence of millennial catchphrases like “we did something.” All he’s missing is a T-shirt that says, “I’ll save the princess. But first, coffee.”
And then there’s the music. Where the 1937 Snow White featured unique songs tailored for an operatic soprano (Adriana Caselotti), giving the film a timeless fairytale quality, the 2025 version opts for bland, hyper-produced pop music made for a Spotify playlist of girl-power anthems. While Zegler does have a beautiful voice, the songs feel like they were born out of a corporate focus group. Empty and generic, they’re the audio equivalent of stock images.
And while the film prides itself on its inclusivity, there is one glaring omission. Despite the fact that the film cast actors of diverse races and backgrounds—even in roles that
Sourse: theamericanconservative.com
