10 Things Jennifer Lee Needs to do as Disney Animation’s New Chief Creative Officer (Part 2)

(Read Part One of this Article Here)

In June, Frozen director Jennifer Lee took over as Chief Creative Officer at Disney Animation in the aftermath of the sexual harassment scandal which led to the resignation of former Disney and Pixar creative head John Lasseter. Lee is under considerable pressure to maintain Disney Animation’s recent winning streak whilst also providing more positive and diverse environment to allow the studio to move into the #TimesUp era. There are various things she needs to do in order to succeed as Chief Creative Officer, and there is too much advice to fit into a single post. The first part of this article (published last month) focused on the films Lee is going to produce and how she can make them as entertaining and inspirational as possible, so this second part will focus on her need to project a positive image for Disney Animation and deal with the behind the scenes tensions and uncertainties caused by Lasseter’s misdeeds. Being an effective Chief Creative Officer requires both good films and a welcoming, progressive working environment, and Lee will need to provide both to flourish in her important new role.

6. Listen to the Critics

The main problem with Jennifer Lee is the fact that she is relatively inexperienced for a Chief Creative Officer. Whilst Pete Docter (who has taken over as Pixar’s Chief Creative Officer) has been with Pixar for almost three decades, Lee has only been with Disney Animation for seven years. This means that she still has plenty to learn. So far, all of Lee’s major work with the studio has been as part of a team. This is incredibly useful in the medium of animation, as animated films are continuously changed and altered until just a couple of months before release, ensuring that the writers and directors need extra feedback and support. Aside from her writing and directing, Lee has also been an important member of Disney’s “Story Trust” – an organisation established to emulate the success of Pixar’s legendary “Brain Trust”. In this capacity, she has contributed ideas to a variety of Disney Animation hits beyond the three she co-wrote. The collaborative process is very useful for Lee and has allowed her to build a close relationship with other Disney Animation creatives, which is necessary in order to take charge of the studio. However, she needs to assert a degree of dominance without turning to the often-autocratic behaviour which was a significant factor in Lasseter’s downfall.

Lee also needs to listen to professional critics and members of the public who dislike her work. Since it became a billion-dollar phenomenon, Frozen has been subject to plenty of criticism from those who regard it as overrated. Commonly cited problems include massive plot holes, the two-dimensional, superfluous villains, the focus on Anna’s adventure over Elsa’s more interesting arc, and the contrivances which keep the two sisters apart for most of the runtime. These flaws are closely linked to the twists, messages and ideas which make Frozen unique and appealing, so they cannot be fixed without changing the movie substantially. This would alienate most of the Frozen fandom, so adaptations (such as the Broadway version) have stayed close to the template laid out by the source material. As pointed out in the previous post, this is a key reason why they have received underwhelming reviews in comparison. Jennifer Lee’s writing skills recently came under more intense scrutiny as she co-wrote the critically savaged live-action adaptation of A Wrinkle In Time. Jennifer Lee is certainly not the only Disney Animation veteran to face difficulties translating her skills to Disney's live-action division (which has a reputation for being far less reliable than its animation studios) but the criticisms of A Wrinkle in Time have reinforced the argument that she is not able to translate her numerous good ideas into a strong script. Gaining a good reputation is necessary if you are being given a position of tremendous power and influence, and Lee’s failures have ensured that her appointment is being regarded with a considerable degree of scepticism by her detractors. She needs to win these people over if she wants to enjoy a long and successful tenure in her new role.

7. Ignore the Haters

However, whilst films like Frozen have plenty of problems, there is a world of difference between honest, analytical criticism of Disney movies and the vitriol of many unhinged internet commentators. There are many aspects of Disney films which can be discussed, but this should not lead to racist, sexist, homophobic and violent comments. Unfortunately, in today’s polarised climate, it happens all too often. Disney films have focused on promoting tolerance and inclusion, but this provokes hostility from those who regard these progressive values as a threat, and their prejudiced mentality needs to be ignored or challenged. When extremely right-wing pundits like Jordan Peterson and Steve Doocy use Frozen to argue that Hollywood is engaged in a plot to undermine traditional values of masculinity, it merely highlights why movies like that are so valuable. One movie with a primarily negative portrayal of male characters does not pose a threat to the patriarchy, but it can highlight the fact that many of the members of this patriarchy are reactionary fanatics afraid of change and innovation. Similar attacks have accompanied attempts to promote racial and sexual diversity in the Frozen universe. The fact that Jennifer Lee merely expressed interest in giving Elsa a female love interest in Frozen 2 led to extreme and ugly homophobia, and the decision to cast African-American actor Jelani Aladdin as Anna’s love interest Kristoff in the Broadway version of Frozen led to him receiving racist insults from people who cling to the delusion that everyone living in 19th century Europe was white. Progressive casting and characterisation should be done carefully and skilfully, but the idea of humiliating and defeating the ugliest and most obnoxious commentators should give Jennifer Lee extra incentive to continue subverting the traditional stereotypes by showing that you don’t have to be white, straight or male to be a hero.

An example of how unhinged and extreme internet hatred can become is apparent in the struggles facing the Disney-owned Star Wars franchise. Since Disney acquired Lucasfilm in 2012, the once-mighty series has been faltering, with numerous spin offs getting green-lit and cancelled, and behind the scenes turmoil leading to several creative changes. In addition, there have been increasingly harsh attacks on the finished products, (with most the films getting criticised for being too safe on one hand, and too radical in its changes on the other) culminating in the bitter divisions over The Last Jedi and the underwhelming box-office performance of Solo: A Star Wars Story. As a result, Kathleen Kennedy, the producer in charge of the Star Wars franchise, has become the target of fan protests about the new direction of the Star Wars series. The has led to an outpouring of offensive comments, including numerous racist and misogynistic slurs aimed at female and non-white cast members. Regardless of their concerns about the story and characterisation, the fans responsible for this abuse have permanently damaged the reputation of the Star Wars franchise. If Kennedy’s experience producing some of the best-loved blockbusters of all time (including ET and Jurassic Park) could not protect her from extreme hostility when people started to disagree with her handling of the Star Wars series, then Jennifer Lee will have an incredibly hard time dealing with fan protests if things begin to go wrong for Disney Animation. Lee needs time in order to provide her best work (it took eight years for Disney Animation to go from Chicken Little to Frozen), but if she has too many failures, then internet trolls may hound her out of a job before she can truly peak.

8. Keep the Fans Satisfied

Frozen has the largest and most passionate fanbase of any Disney movie by some distance. Over the last five years, millions of fans all over the world have debated aspects of the movie ranging from the important to the trivial.  Fans have spent hours explaining how Frozen is linked to other Disney movies and discussing the sexuality of a flamboyant side character. There have been numerous Frozen parodies, instructional videos and mash-ups on YouTube and social media, enjoyed by viewers of all ages. The Frozen fandom became so obsessive that a couple divorced because one of them hated the film. The popularity of Frozen even inspired one British university to set up a 'Symfrozium' - an academic conference in which scholars discussed the various reactions to the film. Although this conference highlighted the limitations of Frozen, it also demonstrated that the movie had become a legitimate subject for sociological debate. With the possible exception of Snow White - the first major feature-length animated film - few Disney movies have made such a substantial impact amongst the wider public. Lee has been very careful in her handling of the massive Frozen fandom. Though she has answered some relatively trivial questions, she has generally left the fanbase alone. In a 2014 interview, she claimed that Frozen "belongs to the world" and she wanted to "let the fans talk" and interpret the movie for themselves. Generally, this approach has been a wise one. Having a giant obsessive fandom is a major measure of success, and Jennifer Lee’s support of them and her acceptance of their unusual ideas and theories has helped encourage and maintain Frozen’s status as a unique and iconic hit.

However Lee's decision to not interfere with the Frozen fandom can be a real problem when it comes to expanding the franchise. There have been thousands of fanfics based on Frozen (There are over 10,700 Frozen fanfics on Fanfiction.net alone, not counting crossovers), and a large proportion of these are sequels which take the characters on new adventures and develop their relationships further. The amateurs behind these stories are providing Jennifer Lee with quite a bit of competition. If Frozen fans do not like Frozen 2, they can disregard it in favour of their favourite fanfic. Why trek to the cinema to watch a badly-received sequel when you can stay at home and read like an epic, high-quality fanfic like Frozen Wight? Furthermore, the fandoms are pulling Disney’s movies into a dozen different directions. For example, whilst Frozen’s numerous LGBTQ+ fans were ecstatic about the prospect of Elsa having a girlfriend, it probably came as a disappointment to those who want to pair Elsa with a male lead or leave the romantic stories to Princess Anna. Lee does not have the same vision for her characters as many of her fans, and that is not necessarily a bad thing. However, she needs to take their ideas for the franchise into account if she wants to provide a vision which will satisfy those who prefer a different approach.

9. Encourage New Talent

As Chief Creative Officer, Jennifer Lee’s control over Disney Animation’s output will allow her to influence the creatives directly responsible for writing, animating and storyboarding all new movies released by the studio. In order to achieve her vision and continue providing high quality and inspirational movies whilst dealing with the sexist culture at the studio, Lee will have to hire a variety of new talent. It seems like the focus on encouraging more filmmakers to join the studio is going to be a central aim for her. In her first public appearance since she gained the role of Chief Creative Officer, Lee appeared in a video to promote the new #DreamBigPrincess initiative, which will allow female filmmakers to create shorts about a variety of female role models (including Lee). This will give them a high-profile platform which could inspire them to continue working with the studio. Lee has also been a prominent figure in many other initiatives, such as Girls Who Code, which has encouraged young women to learn science and technology. Most of the women involved in these projects will become trailblazers in other fields, but if just one of them goes on to work for Disney Animation on a regular basis, then Lee’s support of these feminist initiatives will have provided more than just good publicity for the studio…

Although most of the key creatives behind the Disney Revival (such as Chris Williams and Byron Howard) will continue providing hits, Jennifer Lee will need to bring in new blood to provide additional projects, and replace departing Disney veterans (such as the recently retired John Musker). Some of these additions to the company can go on to far greater roles. Lee was one of several new screenwriters drafted in to work on Wreck It Ralph in 2011, but her rapid rise to power has confirmed what a valuable addition she was. Whilst some of the new writers and animators have become important part of Disney Animation's inner circle, others are hired to complete a specific film only, but their role should not be downplayed or diminished. Many of the extra screenwriters they have aided Disney in their mission to provide greater diversity - would Moana have been such a lively and engaging portrayal of Polynesian culture without the input from New Zealand's Taika Waititi and the Hawaiian Kandell brothers? Lee will need to hire a wide range of people who can work together and combined their different skills into a single exciting project. Hopefully, the results of this team effort can inspire a new generation of viewers to follow in their footsteps.

10. Make Disney More Diverse

The most important challenge facing Jennifer Lee is to provide increased diversity both on screen and behind the scenes. Many critics of Disney have complained about the fact that the typical Disney protagonist is young (usually under 21), white, unrealistically thin, and from a traditional fairy tale kingdom heavily based on medieval (or pre-industrial) Europe. In recent years, there has been increased demand for older Disney heroines, characters with disabilities and Princesses who do not fit gender conventions. A recent YouGov poll of British Disney fans stated that 60% wanted to see a Princess who was aged 40 or over, 74% wanted a princess from an ethnic minority and 52% wanted a plus-sized princess. Since the 1990s, Disney have been moving away from the Western template, with Middle Eastern Princess (Jasmine), an African-American Princess (Tiana), a Chinese Princess (Mulan), a Native American Princess (Pocahontas) and a Polynesian Princess (Moana) becoming integral to their line-up, but there are still numerous minority groups yet to be depicted in a Disney Animation film. Furthermore, the idea of having one princess represent each part of the world feels rather reductive. If we can have two stories based on German fairy tales, two stories based on Danish fairy tales, and two stories based on French fairy tales, then it is reasonable to argue that representation of China should not end with Mulan, and representation of the Middle East should not end with Aladdin.

However, increased diversity on the screen means nothing if it is not accompanied by greater diversity in the animation studios. As the #MeToo movement transitioned towards #TimesUp, feminist activism went from exposing sexual misconduct to combatting the culture which allowed it to thrive. This change in our understanding of harassment has been apparent in recent discussions over the Lasster scandal and what it means for Disney Animation and Pixar. A recent article from a Pixar employee who quit because of Lasseter’s misconduct (a condensed version of a much longer blog post) confirmed that the sexist culture there went far beyond one excessively powerful man, with female workers encountering frequent sexual harassment, objectification and lewd comments from Lasseter and other prominent men at Pixar. The damning indictment of Pixar's work environment also included accounts of women being excluded from meetings for being too weak or difficult, and a persistent double standard in favour of male creatives. The fallout generated by Lasseter’s downfall has seemingly affected Disney Animation less than Pixar, because Lasseter was there for a far shorter period of time, and Disney have not been as closely associated with the chauvinist "boys club" culture as Pixar. However, the studio still needs to answer numerous questions about institutionalised sexism. Their progress towards having a female director (let alone a female Chief Creative Officer) has been slow and difficult. Female animators at the studio were initially excluded from the animation department for many years, and a woman did not join the story department until 1987, when Brenda Chapman became a storyboard artist on The Little Mermaid. Chapman and the other female creatives who have come to prominence since have played a valuable role in the development of the strong and powerful female leads who have come to define the Disney brand, but they remain a relatively small minority in the Disney Animation team, indicating that the studio has not advanced as far from its initial patriarchal approach as they would like is to believe. 

Unfortunately, sexual harassment and gender inequality are not exclusively Disney’s problem. Many other powerful figures in animation have been exposed as creeps, perverts and predators, and representation and protection for women is still insufficient across the animation industry. In 2016, it was revealed that only 20% of the animation workforce was made up of women (Only 10% were directors and only 17% were writers) and a 2017 open letter denouncing sexual harassment and misogynistic behaviour pointed out that only 23% of members of the Animation Guild were women. As wide-ranging as the problem is, Disney’s status as the oldest and most important power in the animation industry means that they are under considerable pressure to set a moral example for all their rivals and imitators. Disney were rightfully criticised for their slow and indecisive response to the allegations against Lasseter, and hiring Jennifer Lee to replace him could primarily be seen as a means of assuring protesters that Disney Animation will lead the way in providing women with increased power and influence in the industry. Therefore, Jennifer Lee needs to deal decisively with the sort of bullying and predatory behaviour which has been endemic at Disney Animation and other animated studios. Ultimately, this will be her biggest and most important challenge. We will probably spend ages debating the quality of the movies Lee produces and directs as Chief Creative Officer, but if she improves the situation behind the scenes and makes Disney Animation a more welcoming environment for female staff and advances Disney Animation towards gender equality, she will have succeeded in becoming a role model more powerful and significant than any Disney princess.