Lifestyle
The trailer for Disney’s live-action ‘Snow White’ remake has some people very Grumpy
Rachel Zegler as Snow White in Disney’s live-action remake of its classic animated film.
//Disney
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//Disney
Heigh-ho, heigh-ho, it’s off to online uproar factory we go. The first teaser trailer for the upcoming live-action remake of Disney’s Snow White is here.
Starring Rachel Zegler as Snow White and Gal Gadot as the Evil Queen, the pair introduced the highly anticipated teaser at Disney’s D23 Expo Friday evening, with a release scheduled for March 21, 2025. Featuring first glimpses of Zegler singing “Whistle While You Work” and Gadot talking to her mirror, mirror, the trailer also showcased seven CGI dwarfs.
Written by Greta Gerwig (Barbie) and Erin Cressida Wilson (The Girl on the Train) and directed by Marc Webb ((500) Days of Summer, The Amazing Spider-Man), the people behind the film have emphasized that this latest adaptation features several ‘modern’ twists, alongside new songs from the duo Benj Pasek and Justin Paul (Dear Evan Hansen, The Greatest Showman).
Could this update to the 1937 classic be the — erm — fairest of them all? It may be a tough sell for Disney fans and other extremely online critics, whose scrutiny of the latest adaptation began years before today’s trailer drop.
Here is a brief overview of their grievances, explained.
A Snow White who’s not white enough
When news broke in 2021 that Zegler, who had her breakout role as Maria in Steven Spielberg’s West Side Story remake, would be playing the titular character, it provoked a string of racist comments on social media. People questioned why an actress of Latin descent would be playing a character with “skin white as snow.”
Zegler, who is of Polish-Colombian background, responded to the comments on X by saying she didn’t want to be dragged into the “nonsensical discourse”about her casting.
“I really, truly do not want to see it,” Zegler wrote in a post that included photos of her as a child dressed as a princess. “I hope every child knows they can be a princess no matter what.”
A reimagination deemed too “woke” by some critics
In another interview with Variety in 2022, Zegler and Gadot talked about how the story of Snow White was being adapted with a “modern edge” — one that would nix the part about Snow White being saved by a prince.
“She’s the proactive one,” Gadot said. “She’s the one who sets the terms. It’s [these factors] that make it so relevant to today.”
“She’s not going to be dreaming about true love. She’s dreaming about becoming the leader she knows she can be, and the leader that her late father told her that she could be if she was fearless, fair, brave and true,” Zegler said.
In another interview, Zegler referred to the prince as a “stalker” and said the messaging would be updated to reference a woman’s power in the modern world.
“The cartoon was made 85 years ago, and therefore it’s extremely dated when it comes to ideas of women being in roles of power and what a woman is fit for in the world,” Zegler said. “So, when we came to reimagining the actual role of Snow White, it became about the ‘fairest of them all’ meaning who is the most just and who can become a fantastic leader, and the reality is Snow White has to learn a lot of lessons about coming in to her own power before she can come into power over a kingdom.”
The comments provoked a wave of backlash on social media, notably from “anti-woke” accounts and from several conservative media outlets including the Daily Wire, which responded by saying it was producing its own version of the classic that would be written “in line with the values in which it was written.”
It just gets worse and worse….
The new Snow White says that the Prince was a creepy stalker and suggests that all scenes of the Prince could be cut
She’s a walking PR disaster for Disney pic.twitter.com/7QJGDIx5er
— End Wokeness (@EndWokeness) August 13, 2023
Others, like TikTok user @reubenwoodall, criticized Disney’s attempt to turn Snow White into a “girl boss.”
“The point of Snow White’s fairytale isn’t that she’s going to try and become a leader,” Woodall said in a video that amassed more than 1.3 million likes. “She’s not supposed to be this girl boss, leader, queen, feminist icon. And I don’t know why every reimagining, it has to be that the woman is in a position of power, otherwise it’s not feminist.”
In an interview with the British newspaper The Daily Telegraph in 2023, David Hand — the son of the 1937 animation’s original director — told the paper he felt it was a “disgrace” that Disney was “trying to do something new with something that was such a great success earlier.”
“There’s no respect for what Disney did and what my dad did … I think Walt [Disney] and he would be turning in their graves,” Hand said.
A “backward” story about seven dwarfs
In a 2022 interview, the actor Peter Dinklage criticized Disney over its plan to release the live-action remake, stating he was “taken aback” by the studio’s celebration of casting Zegler as a Latina lead while revisiting a story with an unflattering representation of dwarfs.
“It makes no sense to me. You’re progressive in one way and you’re still making that f—ing backwards story about seven dwarfs living in a cave together, what the f— are you doing, man?” said Dinklage, who has a form of dwarfism called achondroplasia, during an interview on the WTF With Marc Maron podcast.
Dinklage’s comments prompted Disney to release a statement saying it had decided to take a “different approach” with the seven character. “To avoid reinforcing stereotypes from the original animated film, we … have been consulting with members of the dwarfism community,” a Disney spokesperson told Variety.
Lifestyle
In Brooklyn’s Park Slope neighborhood, children’s entertainment comes with strings
The Tin Soldier, one of Nicolas Coppola’s marionette puppets, is the main character in The Steadfast Tin Soldier show at Coppola’s Puppetworks theater in Brooklyn’s Park Slope neighborhood.
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Every weekend, at 12:30 or 2:30 p.m., children gather on foam mats and colored blocks to watch wooden renditions of The Tortoise and the Hare, Pinocchio and Aladdin for exactly 45 minutes — the length of one side of a cassette tape. “This isn’t a screen! It’s for reals happenin’ back there!” Alyssa Parkhurst, a 24-year-old puppeteer, says before each show. For most of the theater’s patrons, this is their first experience with live entertainment.
Puppetworks has served Brooklyn’s Park Slope neighborhood for over 30 years. Many of its current regulars are the grandchildren of early patrons of the theater. Its founder and artistic director, 90-year-old Nicolas Coppola, has been a professional puppeteer since 1954.
The Puppetworks theater in Brooklyn’s Park Slope neighborhood.
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A workshop station behind the stage at Puppetworks, where puppets are stored and repaired.
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A picture of Nicolas Coppola, Puppetworks’ founder and artistic director, from 1970, in which he’s demonstrating an ice skater marionette puppet.
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For just $11 a seat ($12 for adults), puppets of all types — marionette, swing, hand and rod — take turns transporting patrons back to the ’80s, when most of Puppetworks’ puppets were made and the audio tracks were taped. Century-old stories are brought back to life. Some even with a modern twist.
Since Coppola started the theater, changes have been made to the theater’s repertoire of shows to better meet the cultural moment. The biggest change was the characterization of princesses in the ’60s and ’70s, Coppola says: “Now, we’re a little more enlightened.”
Right: Michael Jones, Puppetworks’ newest puppeteer, poses for a photo with Jack-a-Napes, one of the main characters in The Steadfast Tin Soldier. Left: A demonstration marionette puppet, used for showing children how movement and control works.
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Marionette puppets from previous Puppetworks shows hang on one of the theater’s walls.
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A child attends Puppetworks’ 12:30 p.m. showing on Saturday, Dec. 6, dressed in holiday attire that features the ballerina and tin soldier in The Steadfast Tin Soldier.
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Streaming has also influenced the theater’s selection of shows. Puppetworks recently brought back Rumpelstiltskin after the tale was repopularized following Dreamworks’ release of the Shrek film franchise.
Most of the parents in attendance find out about the theater through word of mouth or school visits, where Puppetworks’ team puts on shows throughout the week. Many say they take an interest in the establishment for its ability to peel their children away from screens.
Whitney Sprayberry was introduced to Puppetworks by her husband, who grew up in the neighborhood. “My husband and I are both artists, so we much prefer live entertainment. We allow screens, but are mindful of what we’re watching and how often.”
Left: Puppetworks’ current manager of stage operations, Jamie Moore, who joined the team in the early 2000s as a puppeteer, holds an otter hand puppet from their holiday show. Right: A Pinocchio mask hangs behind the ticket booth at Puppetworks’ entrance.
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A child attends Puppetworks’ 12:30 p.m. showing on Saturday, Dec. 6, dressed in holiday attire.
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Left: Two gingerbread people, characters in one of Puppetworks’ holiday skits. Right: Ronny Wasserstrom, a swing puppeteer and one of Puppetworks’ first puppeteers, holds a “talking head” puppet he made, wearing matching shirts.
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Other parents in the audience say they found the theater through one of Ronny Wasserstrom’s shows. Wasserstrom, one of Puppetworks’ first puppeteers, regularly performs for free at a nearby park.
Coppola says he isn’t a Luddite — he’s fascinated by animation’s endless possibilities, but cautions of how it could limit a child’s imagination. “The part of theater they’re not getting by being on the phone is the sense of community. In our small way, we’re keeping that going.”
Puppetworks’ 12:30 p.m. showing of The Steadfast Tin Soldier and The Nutcracker Sweets on Saturday, Dec. 6.
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Children get a chance to see one of the puppets in The Steadfast Tin Soldier up close after a show.
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Left: Alyssa Parkhurst, Puppetworks’ youngest puppeteer, holds a snowman marionette puppet, a character in the theater’s holiday show. Right: An ice skater, a dancing character in one of Puppetworks’ holiday skits.
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Community is what keeps Sabrina Chap, the mother of 4-year-old Vida, a regular at Puppetworks. Every couple of weeks, when Puppetworks puts on a new show, she rallies a large group to attend. “It’s a way I connect all the parents in the neighborhood whose kids go to different schools,” she said. “A lot of these kids live within a block of each other.”
Three candy canes — dancing characters in one of Puppetworks’ holiday skits — wait to be repaired after a show.
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Anh Nguyen is a photographer based in Brooklyn, N.Y. You can see more of her work online, at nguyenminhanh.com , or on Instagram, at @minhanhnguyenn. Tiffany Ng is a tech and culture writer. Find more of her work on her website, breakfastatmyhouse.com.
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