Pst! Disney's Just Announced 100-ish Projects: Here Are the Fairy Tale-Related Ones To Watch For

Not "1001",  just around 100, which is still incredibly huge, but then so is the Disney reach these days with all the recent company acquisitions of the past few years.  Thursday, December 10, was Disney Investor Day so there were project announcements from every entertainment arm of the company, which includes Disney Animation, Pixar,  Marvel Studios, Lucasfilm and Lucasfilm Animation, National Geographic, Disney+, 21st Century Fox, ESPN, Hulu, FX Networks, and of course, the Walt Disney Studios. All the projects are set to air over the next few years, with a good portion of them appearing in 2021.

You can read the sequential tweet-announcements that occurred over 6 hours about "the big ones" (about 50 of them) HERE, but we thought we'd list the higher-profile projects likely to be of most interest to fairy tale and folktale fans (as well as some folklore). Read, there will likely be more but these are expected to cause a buzz.

Raya and the Last Dragon - Disney Feature Animation - March 5, 2021 in theaters and Disney+ (more characters were revealed).

The Handmaid's Tale - returns for Season 4 in 2021 and has also been renewed for Season 5. (The Handmaid's Tale series makes great use of fairy tale motifs, with Red Riding Hood being the most obvious, but the last episode of last season also made heavy and effective visual references to The Pied Piper, Snow White, the Dying Swan some Hansel and Gretel, some Bluebeard, as well as the Exodus story.)

Mandolorian-adjacent series, among them: Ahsoka and Rangers of the New Republic. here are about 10 new Star Wars properties on the way which, if they're hoping to grab the same audience, will include those fairy tale doses that keep appearing in the currently-airing The Mandolorian. (Seriously: errant knight, chosen child, a quest/search, talismans, castles, even dragons - it has a lot. Be on the lookout for scholarship papers being written right now, that will prove it to you!)

Willow - a new original series, based on the film, including Warwick Davies starring. Coming 2022 to Disney+.

Children of Blood and Bone (20th Century Film & Lucasfilm) based on the best-selling novel of the same name by Tomi Adeyemi. (Quote) "This coming-of-age adventure follows a young African girl’s quest to restore magic to her forsaken people, the Maji."

Hocus Pocus 2 - a sequel to the original Halloween classic coming to Disney+.

The Little Mermaid - Disney's live-action film based on the Disney animated classic, with Halle Bailey (Ed. - NOT Halle Berry - typo corrected with apologies to the actress! 3-18-21) as Ariel, directed by Rob Marshall (production has yet to restart on this film after stopping due to Covid19, as far as we know, so the release date is currently December 2022).

Pinocchio - live-action movie, based on the Disney animated classic, starring Tom Hanks, directed by Robert Zemeckis, coming to Disney+.

Peter Pan & Wendy - live-action coming to Disney+. Starring Yara Shahidi as Tinkerbell and Jude Law as Captian Hook.

Disenchanted - live-action sequel to Enchanted, coming to Disney+, with Amy Adams returning as Giselle.

Tiana - original animated series by Disney Animation for Disney+ (from the world of the animated feature film The Princess and the Frog). 2022. Tiana as a new princess in a country she's never been to before, with Prince Naveen at her side. Musical series.

Moana - original animated series by Disney Animation for Disney+ (from the world of the feature animated film Moana). 2023 Musical series -drawing on storytelling traditions of Oceania and Polynesia.

Iwájú - (Quoted)"In a first-of-its-kind collaboration, @DisneyAnimation and Pan-African entertainment company Kugali will team up to create an all-new, science fiction series coming to @DisneyPlus in 2022: Iwájú. Check out a first look at visual development art from the series." Not a lot is known about this one yet but with Gigantic having failed to move forward, we expect some fairy tale echoes in this one.

Encanto - Feature Animation, Fall 2021. (Quoted) "Encanto takes you to Colombia, where a magical family live in a magical home. Directed by Byron Howard and Jared Bush, co-directed and co-written by Charise Castro Smith, and music written by Lin-Manuel Miranda."

Turning Red - Pixar short film. (Quoted) "Director of the Academy Award-winning short Bao, Domee Shi, brings us Turning Red. Meet Mei: she experiences the awkwardness of being a teenager, with an added twist: when she gets too excited, she transforms into a giant red panda. Turning Red comes to theaters March 11, 2022"

Untitled Beauty and the Beast, Live-Action Prequel with Gaston and Lefou - 6-part musical live-action limited series, with Luke Evans and Josh Gad reprising their roles, concentrating on the backstory of the two antagonists.  (They have GOT to include some fairy tale notes in this to keep fans happy!) Heading to Disney+. Alan Menken will write new music and songs.

Lots to watch for,

and you know there will be many more things bubbling up too. ;)

Disney+'s "Godmothered" Trailer Suggests There's More Than One Way to Live a Fairy Tale Life

The new "magical holiday comedy" movie from Disney+ seems to be trying very hard to be a modern take on the Disney idea of "a fairy tale life" or what happily ever after can be. It certainly feels like it's inspired by one of Disney's most self-aware films, Enchanted, but we're yet to be convinced that Godmothered can top it.

Here's the description:

This holiday season, be careful who you wish for. Watch the new trailer for Disney’s #Godmothered, a magical holiday comedy starring Isla Fisher and Jillian Bell, streaming on #DisneyPlus Dec. 4.

Set at Christmas time, “Godmothered” is a comedy about Eleanor, a young, inexperienced fairy godmother-in-training (Jillian Bell) who upon hearing that her chosen profession is facing extinction, decides to show the world that people still need fairy godmothers. Finding a mislaid letter from a 10-year-old girl in distress, Eleanor tracks her down and discovers that the girl, Mackenzie, is now a 40-year-old single mom (Isla Fisher) working at a news station in Boston. Having lost her husband several years earlier, Mackenzie has all but given up on the idea of “Happily Ever After,” but Eleanor is bound and determined to give Mackenzie a happiness makeover, whether she likes it or not.

And the trailer:

The premise has a lot of potential, but what the trailer suggests about the movie doesn't show it exploring that a whole lot of that. Trailers are now more difficult than ever to get a true feel for what they're advertising, especially from big companies who are very set on marketing to a demographic, That demographic here is the princess culture following. While the trailer seems to want to show itself to be subverting Disney tropes as much as Enchanted did (and still does, despite being thirteen years old) we're not seeing a whole lot of evidence of Godmothered being any more relevant or socially aware than Enchanted was. 

While Godmothered begins with a nice diversity of fairy godmothers, despite the glitter-and-fantasy-troped surroundings, as soon as the Godmother of the title, named Eleanor, leaves the fairy world (a magical world called "The Motherland"??) and enters the real one, we're smack in the middle of a very white, comfortably upper-middle-class, Hallmark-feeling set of situations and scenes, including the bumbling not-so-smart fairy godmother who needs a dose of self-awareness in order to be able to bring HAE to her charge.

We're hoping we're wrong about this. 

One little glimmer of hope is that the Director is Sharon Maguire of Bridget Jones' Diary, a film which could easily have fallen into all the typical rom-com traps and been a nice-but-very-average movie, but instead rose above that to have a lot to say at the time. Unfortunately, unless Maguire had a strong and unique vision for this movie from the outset, we don't quite see this doing the same, as it's been fast-tracked from September 2019 at first mention to being released next week on December 4th - that's incredibly fast for a feature-length project, especially one that is aiming to break the mold. Perhaps we've just gotten a substandard trailer though, and there actually is some hidden magic here. We've known talented writers to put together works of insightful and delightful genius very quickly, so perhaps one of those scripts made it through the Exec-machine intact and was supported by a visionary producer. We shall see.

Why do we care? 

The world could really use a feel-good, insightful Enchanted-like movie to add to the holiday viewing line-up and folks are clearly searching for solid doses of uplifting and hopeful viewing. To have a solid movie that also gives people cause to reflect and rethink things, in a positive way, would be the tonic so many need right now.

On a deeper level, an exploration of "fairy godmothers no longer being needed" and one in training aiming to prove the world still needs them (and magic) speaks directly to the disillusionment currently at an all-time high. We've overdosed on "real" stories in the efforts to separate fact from fiction and to consolidate fractured narratives into something that makes sense. Attraction to the bizarre has not only started to feel understandable, but we're seeing more that people giving into nonsense feels cathartic. It lets the steam out before we pop. The problem with this is that it's very temporary and is a coping strategy at best, not a way forward. When a response doesn't allow for resolution, hope, or a sense of peace, but instead reinforces chaos, chaos is king. When chaos reigns and takes over our stories it becomes harder and harder to have a strong vision for a better future and for creating a way to get there. Escapist fantasy is useful because we know - we give it permission - to remove us from reality to tell us a story to explore ideas and possibilities. Without the pressure of our upsetting reality dominating the story, we can get a clearer idea of concepts, of ideas, of ideals, and of possibilities not usually visible from our regular point of view, and it is not a threatening thing to consider. It's a fantasy and isn't asking to replace reality like alternative narratives do, only to reflect on it. Stories of wonder and fantasy free us to see possible choices - and that's empowering.

Let's all cross our fingers that the saccharine impression of the trailer (although it's clearly trying to avoid that very thing) isn't a true reflection of what the movie really is. 

Godmothered premieres on Disney+ on December 4, 2020.

________________________________

For those wanting more insight into what this film will be here are some excerpts from the Disney Live-Action Production Notes Media Kit (sections in bold are our emphasis)

WARNING: POSSIBLE SPOILERS AHEAD

Fantasy faces a hard reality in Disney’s "Godmothered" – a hilarious Christmas comedy that turns the traditional fairytale completely on its head. When an offbeat fairy godmother forces herself on a reluctant human protégé, they’ll both discover life isn’t as simple as “happily ever after. “ Eleanor is an apprentice fairy godmother, highly enthusiastic and eager to learn the tricks of the trade, but not quite there yet. All her life she has lived in The Motherland, the Gothic fantasy other-world where fairy godmothers come from and where they are raised and trained and have existed for a thousand years. There, she has been taught by her imperious headmistress Moira (Emmy winner Jane Curtin), who literally wrote the book on “godmothering,” all the very traditional fairy tale notions of what girls aspire to—going to balls in beautiful gowns, marrying Prince Charming and also things like turning pumpkins into carriages and mice into footmen. Mackenzie is a world-weary widow who lives in Boston with her daughters Jane (Jillian Shea Spaeder) and Mia (Willa Skye) and is exhausted from trying to juggle all the responsibilities of motherhood with a high pressure and mostly unrewarding job on the number four local news program... Eleanor’s and Mackenzie’s worlds collide one day when, due to a lack of demand for fairy godmothers, The Motherland is in great danger of shutting down, with everyone to be retrained as tooth fairies. Desperate to find something that will validate the need for fairy godmothers to continue to exist, Eleanor finds a letter from Mackenzie asking for help, unaware that she sent it decades ago. With the help of her roommate, Agnes (Oscar® nominee June Squibb), Eleanor is transported from The Motherland to 21st century Boston, in order to find Mackenzie and use what she has learned from Moira to bring happiness to her life... (Director) Maguire explains, ”There’s this conflict between Eleanor’s expectations and what she thinks being a fairy godmother is and what she thinks magic is like. But then when she’s confronted with the real world, all her expectations come crashing down in a very funny way.” The director continues, “There are all the tropes of the Disney legacy….magic, there’s wands, fairy godmothers and woodland creatures, but we also get to subvert that legacy for comedy. Eleanor is untrained in magic, so none of her spells go according to plan and Happily Ever After is delivered in a very different way than we’ve come to expect in previous Disney movies.” From her first encounter with the much-older-than-she-expected Mackenzie, it is evident that this assignment is not going to be easy for Eleanor. 

There’s poignancy and truth when Eleanor is forced to realize that all her old-school concepts about what will make Mackenzie happy are false, and presumptuous on her part. Maguire says, “When Eleanor finds out why Mackenzie doesn’t believe in ‘happily ever afters,’ she doesn’t know what to do with that and that’s great because it sends her back to zero in what she does with her magic and she has to learn what ‘happily ever after’ really is.” This is one of the film’s key messages: That in today’s world, unlike in traditional fairy tales, ‘happily ever after’ doesn’t mean marrying a prince and living in a castle. It’s completely subjective. Says Springer, “That notion of redefining what ‘happily ever’ after might mean in a way that’s more practical and real in our regular lives. That sometimes you have to take control of your own fate and become your own fairy godmother and find that happiness.” 

Streaming Theater: "Disenchanted"s Witty Exposé of Fairy Tales Launches Virtual Events (Fri AEST / Thurs Late Night EST/PST)

This coming Thursday (Friday for Australia), there is a very special opportunity to take part in the newly revised, digital launch of the live stage show, "Disenchanted". Now that they've gone virtual, anyone anywhere in the world can see this hilarious and thought-provoking show! This Thursday/Friday, the virtual cocktail hour with creator and star of the show, Eliane Morel, will begin half an hour before the show, where folks are welcome to mingle and chat online with her, before live-streaming the show.

But what is Disenchanted? 

“France 1699 at the Salon of Madame d’Aulnoy (Eliane Morel), and Fairy Tales have joined the revolution!

Disenchanted is a cabaret retelling from those supporting fairy tale characters, unimpressed at the stories being told to the public… 

Madame d’Aulnoy guides you through an intimate, behind-the-scenes exposé of what's really going on in your favourite fairy tales. It’s an anthology of mini-stories laced with wit, laughter and a healthy dose of very early strong-willed women – those Féministes... 

Witty, musical, topical, and totally original, Disenchanted transports you to D'Aulnoy's 17th Century Parisian salon, hosted by the Godmother of fairy tales herself, where you learn Fairyland's secrets: the truth and nothing but the twisted truth about why the wolf was in Grandma’s bed, the Marxist philosophy of the Goose that lays the golden eggs, what those pigs in the building industry were really up to, why the so-called Ugly Sisters were robbed, why six of Bluebeard’s six wives died unnoticed, what this all has to do with revolution, and so much more! (Note: We've used an edited combo of various promotional materials for an overview and link the unique fairy tale show this is, with how it's evolved to adapt to bringing live theater to you during the pandemic.)

Here is the promo from the stage show (before we all went into lockdown):

And here's a promo from the NEWLY revised digital/online stage show. The different details are outlined from the press material via reviews: "... a new version of this magnifique showcase for Morel (where) the team embraces the opportunities of making a film... freeing up the visual staging imagination while keeping her biting wit intact: split-screen chats, animations, backgrounds, and especially gleeful fun with technical hiccups... Brillante. Not to be missed – join the fairy tale revolution immediately." 

THE SPECIAL EVENT THIS THURSDAY/FRIDAY:

Make sure you book a ticket, as the season is limited. Note that THIS THURS LATE NIGHT (FRIDAY AEST - Australian Eastern Standard Time) is special because I've created a FaceBook event, and I'm hoping there will be quite a crowd. So, if you want to join in the fun, bring your pre-dinner drinks and enter the virtual 'foyer' at 5.30pm this Friday (10:30pm Thurs 12th PST/1:30am Fri 13th EST Thurs for US folks!), 13th November, book now:
https://melbournefringe.com.au/event/disenchanted-a-cabaret-of-twisted-fairy-tales/
Be sure to check your time zone conversions to make sure you don't miss it!

HOW IT WORKS (from an invitation via Ms. Morel):

This is how Melbourne Digital Fringe works: you can book any time, up to half an hour before each show starts. You’ll notice you can choose your price - ranging from $5 to $100 – OR - you can choose to get tickets for free and pay what you like after the show. Everyone has a different budget, so please pay what suits you.

You’ll then be sent an email link and, from 5.30pm (AEST), you can log on and be part of the pre-show crowd. So grab yourself a pre-dinner drink and 'mingle' while you wait for the show to start at 6pm. My team and I will be in that chat room on Monday 9th of Nov (AEST), and I’ll be there every Friday, Saturday and Sunday night (AEST).

I look forward to seeing you online!

REVIEWS:

“Sexy and subversive, audacious and hilarious, this show puts a knife in the back of traditional fairy tales." Katie Mac
"Irreverent, hilarious, cheeky the pace never slowed." Jan S.
“Brilliant at so many levels. I was blown away.” Moira S.
“Sharp, talented, mesmerising!” Greg N.

The project is supported by the NSW Government with a grant from Create NSW.

Warning: Contains mild coarse language, potentially triggering content or themes, including Domestic Violence, Sexual References

Facebook to Film Ten-Part Series 'Sacred Lies', Based on The Handless Maiden

Maiden Without Hands Blythe Doll by Kat Caro

Note: The Blythe Doll art photos shown throughout are by Kat Caro and the various poses show aspects of her story. We thought it was a good time to show this tragic and touching art that we've been saving to share at the right time.

Sacred Lies is partly based on The Sacred Lies of Minnow Bly, a novel by Stephanie Oakes, and partly on Grimm's 'The Handless Maiden'.

(Sacred Lies is about a) handless teen who escapes from a cult and finds herself in juvenile detention, suspected of knowing who killed her cult leader. Casting is currently underway. (Deadline)

The ten-part series, is set to start production sometime between March and May this year (2018) will be screened on the new SVOD* platform Facebook Watch, which was set up last year. Facebook is partnering with Blumhouse Productions, who are known for specializing in "converting low-budget horror stories into major international hits" (eg. the Insidious franchises, the Paranormal Activity movies and the acclaimed Get Out.)

“Sacred Lies is an inventive twist on a time honored fairytale which we believe will surprise and stir the Facebook Watch audience and we’re excited to be the studio producing this provocative series.” (Marci Wiseman and Jeremy Gold, co-presidents, Blumhouse Television) 

“This a young female protagonist we’ve never seen on screen before,” said (showrunner Raelle) Tucker**. “She’s complex, brave, funny…and sometimes dangerous. And she has no hands. But she refuses to let that, or her bizarre, brutal past define her or limit her. That’s the message of our series: no matter what life throws at you – ultimately only you have the power to decide what you believe and what you become. I’m beyond excited and honored to bring this unique, inspiring, badass character to life. “

                                  
                       
             
   
Facebook Watch will be taking quite a departure from their current fare. Facebook Watch is currently known for it's "gimmicky reality shows and clips from popular internet creators" (to quote The Verge) and will be taking quite a departure for, Sacred Lies, Facebook Watch's first scripted drama, the first of many projects the social network giant is planning on, with a projected budget of $1bn on contact (yes, billion - which is still modest compared to Hulu, Amazon and Netflix for 2018), something which has intrigued filmmakers and property holders because of the "stated intent".
                     
Translation - filmmakers: time to pitch your series and movie ideas! This is a great time for fairy tales. People are finding expression, solace, hope, a new perspective - as well as escape - in old tales and in retelling old tales in new (and needed) ways rat present, and, wonderfully, lesser known ones are coming back into popular circulation. 'The Handless Maiden' is one example of this. 'Baba Yaga', in her various complex iterations, along with 'Vasilisa', is another, as well as 'Snow White and Rose Red', and it's worth also mentioning that Krampus is once again a known figure among pop culture geeks and beyond.

As a side note, it's nice to see fairy tale protagonists who deal with disability as well. It's representation that's been lacking, apart from various mermaid explorations, but mermaids are more seen to represent previously marginalized groups such as LGBT folk. Acknowledged physical disability, whether by birth, accident or other, could use some hero representation and hopeful fairy tale retellings.

* Streaming Video On Demand
** Raellee Tucker was formerly Executive Producer on the popular HBO series, True Blood

Sources: KFTV, Deadline.com, The Verge


Kat Caro's Blythe Doll art was created for and shown in the Fairies & Folklore Once Upon A Blyth International Doll Exhibition in 2015

About her art doll, Kat Caro says: "The Maiden without Hands - My submission for the Fairies and Folklore show at Auguste Clown Gallery in Melbourne, Australia in 2015. She was inspired by Grimm's fairy tale, The Maiden without Hands, which I have always been fascinated by. She specifically reenacts the moment she is told to flee the kingdom with the newborn prince to escape the devil's false message that she be executed. She has removable sterling silver hands, as given to her by the king, but she still carries her chopped off hands on her back and the prince in a sling."

Gans' Gorgeous 'Beauty and the Beast' Is On Netflix!

We know lots of readers have been waiting a very long time to see this. Now Netflix has the English language dub of this sumptuous French live action retelling of Beauty and the Beast. (The original actors are the voice dubs -they just re-recorded their lines in English, but the movie was shot in French - so English dub, despite the great voices, doesn't match lip sync.) 

Other great news, you can also choose to watch it in the original French - with or without English (or Spanish) subtitles! (It's been very difficult to find a disc that gives this option.)

It's not Disney. It's French, luscious and has much more in common with the French literary versions. Here Beauty has siblings, her father is a merchant and there is a new-but-feels-old mythical aspect to the Beast's backstory that is probably our favorite addition to the story. There are also a heck of a lot of Cocteau homages and you simply can't help but be amazed by the visual aesthetic brought to the whole production. Even the 'pedestrian' scenes without magic have a glow about them, while any scene with magic is breathtaking.

It's biggest criticism is people finding the beginning slow, or that it has "all these extra things about the family", but if you're expecting a musical with animated objects, instead of the merchant backstory and the tale being told to children, perhaps it might seem that way. This version initially develops the character of Belle in the context of her family, like the written version, and shows the strain which they are all under, echoing other themes throughout the better-known parts of the story. Despite having no dancing enchanted tea sets, and some additional human drama, this version has a lot of magic - a LOT.

Every frame is beautiful and the magic is, well magical, rather than just fancy fantasy.

Take a look at the English trailer:

Yes, it's not Cocteau, but if you like fairy tale and fantasy films, you'll be doing yourself a disservice not to check this out. It's a well made and beautiful film. The costumes are gorgeous, the effects are amazing, and it incorporates the importance - and magic - of the garden and roses. (And we love the use of statues.) There's thrills and adventure, romance, mystery, and sweetness and Belle and the Beast have a feisty, interesting relationship that develops in an unusual way. Vincent Cassel as both Prince and Beast is very compelling, (complete with very decent creature make-up and VFX) and Léa Seydoux as Belle is the stunning and modern fairy tale heroine you wish more films had - accessible and gracefully adapting to princess mode without losing that appeal. Most notably, Belle is so independent and has so much agency, even when staying 'true' to her time period, that it doesn't have that whiff of Stockholm syndrome other versions are criticized for.

The Beast has a story, Belle has a story, everyone in this film has their own story and they weave together affecting each other but none of them change their essential natures until they're ready to take that step themselves. (And you're not disappointed when the Beast transforms at the end!)
           
Here's a full clip (in French with English subtitles) in which Belle is late in joining the Beast for dinner. Just know that his story is more complicated (and satisfying) than it appears, even here.

Possibly the most basic and best thing is that this is a full-on fairy tale film. It's a big story, with a lot of scope and once the magic starts happening you are neck deep in fairy tale mode, never to leave again until the credits roll. It also has all the 'original' Beauty and the Beast fairy tale bits and pieces missing from other remakes (though it doesn't get waylaid by fairies or fairy politics, thank goodness!).

We only wish we could have seen this in the theater.