2020 Fairy Tales - A Preview (Part Two)

(Read Part One Of This Article Here)

As 2020 starts, it's time to look at the culture and entertainment ahead of us in the next 52 weeks, and a lot of this will be from or inspired by classic fairy tales, myths and legends, and children's stories. There are so many interesting things for fairytale fans to enjoy this year that this article is being split into two parts. The first part focused on movies and TV. The second part of this article will focus on theatre, literature and the arts. YA books, musicals and even art exhibitions are among the attractions which will entertain fairy tale fans in 2020…

Art and Literature

All The Stars and Teeth (published February 4^th)

Every year, authors and publishers provide plenty of fantasy epics aimed at the Young Adult audiences. With their grand worlds and distinctive characters, they are incredibly popular with their fandoms, and several go on to become major franchsies. One which could enjoy major success in 2020 is All The Stars and Teeth, by newcomer Adalyn Grace. She began her writing career working in the story team for the epic animated series The Legend of Korra, and the lessons she learned there are in full evidence in All The Stars And Teeth. The novel tells the story of a princess named Amora Montara, who needs to master an especially dangerous form of “soul magic” if she wants to become heir to the throne of her kingdom. When she loses control of this magic, she has to go on an epic sea quest with a pirate in order to prove she is worthy of being a future ruler. Amora has to deal with a variety of obstacles, including a stowaway, scary and vengeful mermaids and a mysterious Dark Magic which is endangering her kingdom.  All The Stars and Teeth is one of the most anticipated YA books of 2020, as it has received endorsements from popular YA fantasy icons like Tomi Adeyemi (the woman behind the Children of Blood and Bone series) and Hafsah Faizal. Grace is apparently starting work on a sequel, and we can expect plenty of epic novels from her in the future. 

Girl, Serpent, Thorn (Published May 12th)

With her 2017 novel Girls of Snow and Glass, Melissa Bashardoust put an eerie and imaginative feminist spin on Snow White, which gained considerable attention from fairytale and YA fans. Second novels are always a challenge, but Bashardoust is using her second novel, Girl, Serpent, Thorn, to cement her position as a major new talent. The story is set in a Persian-inspired Kingdom, and concerns a princess named Soraya. Since birth, Soraya has been afflicted by a curse which renders her poisionous to the touch. As a result, she has been unable to leave her palace, but when her twin brother gets married, Soraya finds the lack of freedom unbearable, and seeks out a demon who could allow her to venture into the wider world. Needless to say, this decision generates a variety of problems for Soraya, who soon finds herself wrestling with the destructive consequences of her powers. The premise has echoes of Nathaniel Hawthorne’s short story Rappaccini's Daughter and the Indian myths which inspired it, but promises to provide something original by telling the story from the perspective of the female lead, and making her attempts at coming to terms with the curse into the focal point of the story. It seems like Girl, Serpent, Thorn will further demonstrate that Bashardoust is one of the biggest  rising stars in the YA genre. 

Ray Harryhausen: Titan of Cinema (Runs May 23rd – October 25th)

Ray Harryhausen was the special effects guru who worked on a variety of epic fantasy and adventure films between the late 1940s and early 1980s. He specialised in stop motion animation, using it to create a variety of memorable monsters in blockbusters like Jason & The Argonauts, The Adventures of Sinbad and Clash of the Titans. Harryhausen became a formidable influence on all the filmmakers who watched his movies as children, including Tim Burton, Steven Spielberg and Peter Jackson. In order to mark 100 years since his birth, the National Galleries Scotland will be holding a retrospective of his work. The exhibition in Edinburgh's Scottish National Gallery of Modern Art will be dominated by Harryhausen’s creations, with impressive work from conservation teams keeping these rubber models in good condition decades after their creation. Harryhausen’s drawings and artwork will also be showcased prominently, demonstrating the extent of his talent and vision. In addition, Harryhausen’s collection of books and tools will be showcased, revealing the amount of research and effort which went into creating his creatures. The  National Galleries Scotland also promise to provide insights into Harryhausen’s life and the artists who inspired his unique approach. The artistic skills of special effects experts are often overlooked, so the Scottish National Gallery of Modern Art exhibition makes a valuable case for recognising the creatives who bring fantasy worlds and characters to life on the big screen. 


Alice: Curiouser and Curiouser (Runs June 27th – January 10th 2021)

In recent years, London's prestigious V&A Museum have provided exhibitions on major topics ranging from ranging from Opera and Winnie the Pooh to David Bowie and video games, but their examination of Alice In Wonderland promises to provide audiences with an entirely new and unique experience. Veteran stage designer Tom Piper is designing the Alice: Curiouser and Curiouser exhibition, taking advantage of the underground exhibition space to really give audiences a trip down the rabbit hole into an exciting and mysterious immersive world. The exhibition will contain an incredible 300 items, showing how Lewis Caroll created Alice In Wonderland and exploring its impact on films, theatre, art and other aspects of popular culture. With illustrations for the original tale and costumes from theatrical versions sitting alongside paintings by the likes of Salvador Dali and Peter Blake, it promises to provide a fascinating insight into how Alice In Wonderland has inspired artists and creatives over the decades.

Cinderella Liberator & 3 New Fairytale Books (published in the UK in October) 

Last year, the feminist commentator Rebecca Solnit moved into children’s fiction with her feminist fairytale Cinderella Liberator. She created a modern update of the age-old Cinderella story, maintaining the theme of a girl escaping her miserable existence, but updating it for an audience sick and tired of traditional romantic clichés. The story starts in the traditional way, with Cinderella going to the ball and losing her glass slipper, but instead of becoming a princess, Cinderella does something different and far more impressive with her life. Solnit honours the roots of her story by illustrating it with silhouettes created by the legendary fairy tale illustrator Arthur Rackham. This combination of old and new has unsurprisingly proved popular with fairy tale fans, so Cinderella Liberator is being published all over the world. However, to mark its arrival in Britain, publishers Vintage Books are providing a truly special treat. In addition to handling the UK publication of Cinderella Liberator, Vintage Books are publishing three more feminist spins on classic fairy tales, each written by an acclaimed British author. Kamila Shamsie is providing her own spin on The Ugly Duckling, and Oranges Are Not The Only Fruit author Jeanette Winterson is adapting Hansel & Gretel Most excitingly, Noughts & Crosses author Malorie Blackman, one of Britain’s best-loved writers, is creating a new take on Bluebeard. All three of these fairy tales are perfectly suited to feminist reinterpretations, and Shamsie, Winterson, and Blackman will all bring something unique and interesting to the table. Instead of providing one modern fairytale, Vintage Books will be providing four, and Cinderella Liberator and the three (currently unnamed) new books will really liven up autumn for British fairy tale fans. 

Theatre

Formulae and Fairy Tales American Tour (performances begin February 5th)

Established in 2007, Invertigo Dance Company have become one of America’s most interesting dance companies, with their creative approach and focus on making dance accessible and modern. Their fascinating new production, Formulae and Fairy Tales, is going on tour in 2020 after an acclaimed world premiere in LA last year. The first performances of the tour will be at the Phillips Center in the University of Florida Performing Arts, and more will be announced soon. Formulae and Fairy Tales is based on the tragic story of the legendary code breaker Alan Turing, who was gay at a time when homosexuality was illegal. After being imprisoned and forced into chemical castration, he committed with a poison apple, a method of death which fairy tale fans will instantly recognise from Snow White. The question of why a man whose life was based on codes and numbers would be so obsessed with the Snow White story is at the centre of this production, which highlights the contrast between Turing’s technical world and the fantastical, sinister world of fairy tales. Director Laura Karllin makes innovative use of projections to represent the AI and computer technology which Turing pioneered, and highlights the power of symbols in both technology and stories, with the forbidden apple unsurprisingly taking centre stage. Formulae and Fairy Tales represents proof that American ballet can tackle big ideas and topics in creative and original ways, and we can expect it to gain further accolades throughout 2020 – it wouldn’t be a surprise if the ballet also makes it beyond America…

The Prince of Egypt in the West End (Runs February 5th - September 12th)

Released in 1998, The Prince of Egypt is one of the finest Dreamwork's animated films. A take on the legendary Biblical story of Moses, it highlighted the epic nature of the story whilst developing the individuals who are at the centre of the events. With incredible images, fully formed characters and a strong soundtrack (including the Oscar-winning “When You Believe”), it proved that Disney were not the only studio who could create great animated musicals. Given the success of Disney’s theatrical musicals, it is not a surprise that Dreamworks are trying to break into the same market, and The Prince of Egypt is their second stage production after Shrek: The Musical. The Prince of Egypt shows how Moses, a Jewish child raised in the Pharaoh’s palace, must go up against his adoptive brother Rameses in order to rescue the Jewish people from slavery in Egypt. The musical premiered in California in 2017, and has enjoyed two productions at Denmark, but the London production (taking place at the massive Dominion Theatre) will be the biggest outing yet for the musical. There will be new sets and costumes, and iconic composer Stephen Schwartz (Pippin, Wicked, The Hunchback of Notre Dame) has added ten extra songs, including one for Moses called “Footprints in the Sand”, which is making its debut in this production. The Prince of Egypt is only having a limited 32-week run, so fans need to book tickets quickly if they want to see it in London. However, if it does well, we can expect further major productions all over the world, plus touring and amateur licensing, which could make The Prince of Egypt into a major money-spinner for Dreamworks…

A Monster Calls and The Lion The Witch and the Wardrobe tour the UK (At various UK theatres throughout 2020)

With her acclaimed versions of stories like Jane Eyre and Peter Pan, Sally Cookson established herself as an expert in adapting classic literature and children’s stories for British theatre, and her status has grown even more in recent years. In 2018, her adaptation of Patrick Ness’ heartbreaking novel A Monster Calls premiered at the Old Vic, receiving critical acclaim and winning an Olivier Award. Cookson applied a minimalistic and imaginative approach to the tearjerking story of a troubled boy visited by a mysterious monster, and it will be great to see her production gain a second life. The tour starts at Chichester's Festival Theatre on February 6th, and will take the production across the UK, concluding on June 13th at the Theatre Royal Plymouth. Cookson is famous for her collaborative approach, so we can expect the new cast and crew to edit the production whilst also staying true to the powerful messages about how stories help us deal with grief, fear, and the uncertainties and contradictions of life. A Monster Calls won’t be the only Sally Cookson play travelling through Britain in 2020. In November, her adaption of The Lion, The Witch and the Wardrobe (currently playing at the Bridge Theatre in London) will also begin a four-month tour at Aylsebury's Waterside Theatre on November 20th, with a high-profile stop in Manchester's Lowry Theatre across the Christmas period. Both tours will provide plenty of entertainment for theatregoers whilst we wait for Cookson’s next innovative productions.

Once Upon A One More Time premieres in Chicago (Runs April 14th – May 17th)

Once Upon A One More Time is a jukebox musical dedicated to millennial guilty pleasure Britney Spears, using the songs of the pop princess to tell a unique story about fairy tale Princesses. It centres on a group of classic fairy tale princesses (Snow White, Cinderella, etc) who are becoming fed up with their lives and a book club where they are only able to read Brothers Grimm fairytales. However, when a fairy godmother introduces our heroines to the classic feminist text The Feminine Mystique, our leads are inspired to shake up their conventional fairytale world. The musical is premiering in April at Chicago’s Nederlander Theatre, which has often hosted trial runs for future Broadway productions. It was meant to premiere there in October 2019 but was delayed for unknown reasons. A possible factor may be the recent opening of the similar West End musical & Juliet, which pays tribute to Britney's regular songwriter/producer Max Martin and features five of her biggest hits on the soundtrack. However, Once Upon A One More Time will probably do something different with the likes of 'Baby One More Time' and 'Stronger' and will also feature eighteen other Britney anthems, ranging from hits such as 'Toxic', 'Lucky' and 'Sometimes' to more obscure songs. Ultimately, this musical will be judged on its own terms, separate from its rival across the Atlantic, although it should successfully tap into the same demand for trashy and colourful, yet strongly progressive, escapism. Once Upon A One More Time does well in its Chicago run, it could make it to Broadway, and provide some feminist fairytale fun for Britney’s fanbase.

Rogers & Hammerstein’s Cinderella has its UK premiere (Runs May 9th – June 6th)

In 1957, a take on Cinderella from the legendary Broadway songwriters Rogers & Hammerstein’s premiered on TV. With a young Julie Andrews in the lead role, and wonderfully romantic songs such as “Ten Minutes Ago”, it proved a major hit, and has been adapted for stage and TV several times since - one notable 1997 TV adaptation featuring Whitney Houston as the Fairy Godmother. The musical was reworked for Broadway in 2013, with Douglas Carter Beane incorporating other Rogers & Hammerstein songs (such as “The Time is Now”), and appealing to modern progressive values by adding a subplot where Cinderella inspires her Prince to bring democracy to their kingdom. This new version received eight Tony Nominations (winning an award for Best Costume Design) and ran on Broadway for almost two years. Last year, a semi-staged version was performed at West London's Cadogan Hall, with Christine Allado, Diane Pilkington and Jac Yarrow in the leading roles. As a result of this increased publicity, the 2013 version of Rogers & Hammerstein’s Cinderella is finally making its full stage debut in May, as it will be performed for four weeks at Manchester’s Hope Mill Theatre, which has become one of Manchester’s most notable independent theatres since it opened in 2015. It's unlikely that any big names will appear in this smaller production, but it will certainly increase the popularity of this musical with UK audiences, and open the door for further adaptations in the future.

What Else Can We Look Forward To?

There are plenty of fairy tale films, TV shows and other that we will learn more about later in the year. Disney’s new streaming service, Disney Plus will provide more fairy tale adventures for Disney fans, including Secret Society of Second Born Royals, which could be fun if it acknowledges the ludicrous nature of its premise (What if the second born children of royals had superpowers?) Other channels are also providing their own spins on the fairy tale genre. Adult Swim, the channel behind anarchic, provocative adult animations such as Rick and Morty and Robot Chicken, are applying their signature approach to fairy tales in a new animated series created by J.J. Villard. Fairy Tales promises to provide plenty of “gross weirdness”, whilst also retaining the “charm and cuteness” of the original fairy tales – can it do both? Meanwhile, British theatres are beginning to announce their plays and pantos for Christmas 2020. Things are still subject to change, but the Lyric Hammersmith will be retelling Aladdin, New Wimbledon Theatre will be adapting Dick Whittington, and Theatre Stratford East will be providing a less conventional choice with a Little Red Riding Hood panto. There are also plenty of treats for fairytale fans outside of the UK and US. In February, Sweden’s Millesgarden museum will open an exhibition about artist Gustaf Tenggren and his work with Disney. Finally, it is necessary to mention Tell A Fairy Tale Day on 26th February, where we are all able to create our own fairy tales and share them with the world. Overall, 2020 promises to be an excellent year for fans of fairy tales, with plenty to inspire and excite them.

2020 Fairy Tales - A Preview (Part One)

As 2020 starts, it's time to look at the culture and entertainment ahead of us in the next 52 weeks, and a lot of this will be adapted from or inspired by classic fairy tales, myths and legends, and children's stories. There are so many interesting things for fairytale fans to enjoy this year that this article is being split into two parts. The first part will feature Disney's biggest 2020 projects, and several films and TV shows from rival studios. The second part of this article will focus on theatre, literature and the arts.

Disney

Rapunzels Tangled Adventure/Tangled:The Series concludes (Sundays from January 12th-March 1st)

Since it premiered in March 2017, Rapunzels Tangled Adventure (Formerly known as Tangled: The Series) - the followup to Disney's 2010 smash Tangled - has established itself as one of the most interesting TV spinoffs of a Disney film. The show has expanded the world of Rapunzel and Flynn Rider Eugene Fitzherbert, giving them several new friends and enemies and a variety of exciting and unusual adventures. Though its additions to the Tangled universe have sometimes been hit and miss, Rapunzels Tangled Adventure has generally been a real treat for Tangled fans. The animation is brilliant, there are plenty of interesting and mature themes, and Alan Menken and Glenn Slater's songs are often superior to the ones featured in the original film. Despite gaining substantial online popularity, Rapunzels Tangled Adventure has often been treated terribly by the Disney Channel, who needlesssly changed the name of the show, put it on long hiatuses several times, and made various schedule changes which often left it stuck in inhospitable time slots.  Rapunzels Tangled Adventure is now nearing the end of its three-season run, with Rapunzel investigating the mysterious black rocks and trying to stop her former friend Cassandra from using the power of the moonstone to devastate the kingdom of Corona. The last set of episodes begin airing in January, resolving the grand arc whilst providing plenty of comedic adventures to lighten the tone. The show will conclude on March 1st with a three-part episode called "Plus Est En Vous" (French for "There's More In You", - a phrase featured in Rapunzel's diaries) and it will hopefully allow Rapunzels Tangled Adventure to gain the incredible finish it deserves.

Onward (Released March 6th) 

A major reason for Pixar’s rise to fame in the late 1990s was their decision to create a unique formula entirely separate from the Disney musicals of the era and their many imitators. Even with the lines between the two studios blurring later on in the Lasseter era, this distinction has generally been maintained, but Pixar dipped their toes into Disney-style classic fantasy with their 2012 film Brave, and Onward represents a far different take on the same subgenre. It is set in an alternate universe where mythical creatures live a mundane suburban life like our own, with unicorns prowling through gardens like foxes, and centaurs and fauns working in the police force. A pair of teenage elf brothers (voiced by the ever-popular Chris Pratt and Tom Holland) are given a magical staff which belonged to their father and contains some of the last magic in the world. They attempt to bring their deceased father back for one last day, but are only able to resurrect his bottom half, and have to go on a quest to find a way of restoring their father for real. The trailers have promised a wacky and comedic tone, but also given hinted that the film will do justice to the poignancy inherent in the premise. The first of two original Pixar films coming out in 2020, Onward promises to cement Pixar’s new direction under Pete Docter, maintaining the humour, heart and creativity of classic Pixar films whilst ensuring that there are enough changes to keep the studio feeling fresh and exciting.

Mulan (Released March 27th) 

Last year, Disney's live-action division broke records as their focus on remaking classic Disney animations resulted in billion-dollar grosses for their takes on Aladdin and The Lion King. However, the excessively faithful approach of these films annoyed many fans and critics, so Disney’s remake of their 1998 animated hit Mulan will represent a change in approach. Director Nikki Caro and screenwriters Rick Jaffa and Amanda Silver are creating a remake which will adopt a new tone and style whilst sticking to the same basic outline. Liu Yifei will play the titular heroine, who disguises herself as a man in order to fight in the Chinese army. The new version of Mulan is primarily targeted at Chinese audiences, so is making a variety of alterations which will make it closer to Chinese Martial Arts epics than traditional Disney musicals. Wisecracking sidekick Mushu has been replaced by a mute Phoenix, the villain will be working with a sinister shapeshifting witch (played by the prolific Gong Li) and there will be a lot less singing. A group of hardcore fans have been dismayed by these changes, and Caro will need to find ways of satisfying them without compromising her vision. There have also been concerns about how the project legitimises the authoritarian Chinese government (Not helped by Yifei's support of the Chinese-backed authorities in the Hong Kong riots). However, the trailers have generally been very well-received, and Mulan’s new approach could allow it to dodge comparisons with the original film. With many of Disney’s biggest hits already adapted by the live-action division, they will need to adopt a new and more innovative approach, and Mulan could lead the way in this regard.

Frozen arrives in the West End (Performances begin October 2020)

With Frozen 2 emulating the success of the first film and generally reviving interest in Anna and Elsa's world, it's a pretty good time to bring the 2018 Broadway adaptation of the original Frozen to the West End. Princess Anna's epic journey to find her older sister Elsa has been expanded into a 2 hour-plus spectacular for the stage, and this production will be reopening London’s massive Theatre Royal Drury Lane after 18 months of renovations. The inescapable songs from the original (including "Let It Go" and "Do You Want to Build A Snowman?") are joined by several new numbers including "Monster" and "What Do You Know About Love?". However, despite the popularity of the Frozen franchaise, this production still has a lot to prove. Whilst it has earned more than enough money to justify its international rollout, it hasn't emulated the success of The Lion King and did badly at the Tony Awards, only receiving three nominations in a very weak year. The new touring version of Frozen premiered in LA last month and made improvements (including brighter lighting and more colourful set designs) which will hopefully be incorporated into the West End version. Director Michael Grandage has promised that the Brits will get their own “bespoke” version, and has acquired an impressively big name to play Elsa, with Les Miserables fan favourite Samantha Barks headlining the cast as the powerful but vulnerable Ice Queen (We will find out who will play Anna in a few weeks, with the rest of the actors being announced later in the year). Grandage has been a West End icon since the late 1990s, so he will hopefully be putting extra effort into giving his home territory a truly special production of Frozen.

Raya and the Last Dragon (Released November 25th)

After two messy but enjoyable sequels in the form of Ralph Breaks the Internet and Frozen 2, Raya and the Last Dragon will be Disney Animation's first original animated movie in four years. Anticipation has been high since it was formally unveiled at the D23 Expo 2019, as it will pay tribute to the culture of East Asian nations such as Vietnam and the Philippines. The film has been written by Crazy Rich Asians screenwriter Adele Lim, who is working with a team of Disney veterans, including storyboard artist and animator Paul Briggs (making his directorial debut) and Moana producer Osnat Shurer. The film is set in a fantasy realm called Kumandra, and centres on a girl searching for a mysterious dragon who has taken on human form, The titular heroine Raya is voiced by half-Filipino, half-Canadian actress Cassie Steele, whilst Crazy Rich Asians breakout star Awkwafina will be voicing Sisu the dragon, who may be able to protect Raya and her kingdom from a mysterious dark force. Raya and the Last Dragon seems like it will be providing an East Asian spin on the formula established by Moana and Frozen 2, but with enough changes to provide it with its own identity. There seem to be no songs, and the tone seems to be inspired by Asian fantasy epics as much as fairy tale classics. If Raya and The Last Dragon sticks to its vision, it could allow Disney Animation’s recent revival to continue into the new decade.

Non-Disney films and TV

Gretel and Hansel (Released 31st January) 

Oz Perkins - The son of horror icon Anthony Perkins (famed for his role in the Hitchcock horror classic Psycho) - has made his name by writing and directing eerie gothic horrors such as The Blackcoats Daughter and I Am The Pretty Thing That Lives In the House, and this take on the age-old story of Hansel and Gretel is his biggest project yet. Whilst other adult-orientated variations on the Brothers Grimm classic have often been lurid and trashy (such as 2013's Hansel and Gretel: Witch Hunters), Gretel and Hansel promises a more restrained approach, whilst remaining scary and sinister. The creepiness implicit in the Brothers Grimm source material is brought to the forefront, with sinister houses, trees covered with children’s shoes, and a gross moment where the Witch pulls a long thread of hair out of her mouth. As the switching of names in the title implies, Gretel’s status as a strong and fearless female lead will also be emphasised, as she is now a teenager looking after her much younger brother – IT star Sophia Lillis will play Gretel, and her performance could mark her out as an actress to watch in the future. January releases are generally not known for their high quality, but Oz Perkins’ distinctive vision could make Gretel and Hansel into a pleasingly creepy standout.

Come Away and Wendy (Screening at the Sundance Film Festival 24th January-2nd Febuary)

The Sundance Film Festival is one of the first major events of the cinematic year, as a variety of independent films make their big screen debuts. This year, audiences will be treated to two unique takes on Peter Pan. One of the biggest films at the festival this year is Come Away, the live-action debut of animation icon Brenda Chapman, who has worked on films ranging from The Lion King to The Prince of Egypt. Come Away is about two children, Alice and Peter (played by Keira Chansa and Jordan Nash), who end up in a fantasy world as they try to deal with a death in the family and find themselves having to choose whether to stay in the real world or go into their imaginary landscape. A prequel to both Alice in Wonderland and Peter Pan, Come Away will explore the classic worlds these two protagonists will go on to inhabit, and the way they impact on their bond. Chapman has gathered a top-notch cast, with Angelina Jolie and David Oyelowo playing the parents, and Michael Caine, Derek Jacobi and Clarke Peters also featuring prominently. Chapman’s first film after being controversially fired from Pixar’s Brave, Come Away could allow Chapman to fully showcase her ability at creating fairytale magic.

In contrast, Wendy is a much smaller production, but one which embodies the Sundance spirit perfectly. It is directed by Benh Zeitlin, whose drama Beasts of the Southern Wild was one of the breakthrough films at the 2012 Sundance Festival. Here, Wendy is a girl from modern America, who lives with her family in a diner. The unusual Peter takes Wendy and her brothers to a Neverland suspended in time by a mysterious pollen, but a series of threats to this world means that Wendy needs to take responsibility and save all the children on the island.  Zetlin announced the project in 2013, just after Beasts of the Southern Wild became an unlikely Oscars contender, but it has taken over six years to bring his idea to life  The winning formula of Beasts of the Southern Wild is being maintained for Wendy, with a cast of newcomers (including Devin France as Wendy and Yashua Mack as Peter) a mysterious and oddly magical tone, and a depiction of a wonderful but endangered natural world. Amusingly, Wendy has been produced by the Disney-owned Fox Searchlight, but it could not be more different from the action-packed approach of Disney blockbusters, making it a great alternative to more mainstream fairytales. Come Away does not have a confirmed release date, but it should come out at some point later in the year. Meanwhile, Wendy will be released in America on 28th Febuary. We can expect both productions to entertain and enchant fairytale fans all over the world during 2020.

The Secret Garden (Released 17th April in UK) 

Since it was first published in 1911, Frances Hodgson Burnett’s novel The Secret Garden has become a staple for many children, Over a century after the first known film adaptation, audiences are getting a new version which will introduce a new generation to this story. The Secret Garden tells the story of Mary, a girl who is sent from India to live in the house where her late aunt lived. Mary initially hates life in Misselthwaite Manor but meeting two other children and discovering an incredible hidden garden allows her to change the lives of the people around her, and become a better person herself. Dixie Egerickx will play Mary, Colin Firth (who had an early role in the 1987 Hallmark version of this tale) plays guardian Archibald Craven, whilst Julie Walters is the authoritarian housekeeper Mrs. Medlock. Screenwriter Jack Thorne was recently behind the TV adaptation of His Dark Materials, so he knows a thing or two about adapting classic children’s stories. This new version has two big changes. Firstly, it will be set in 1947, meaning that the partition of India and the aftermath of World War Two will be major influences on the lives of our characters. Second, it will take advantage of the rise of CGI to bring the titular Garden to life in a new and impressive way. This will not be the only version of The Secret Garden in the UK this Spring. A semi-staged concert version of the 1991 stage musical adaptation will be staged at the London Palladium on April 4th, with Ramin Karmaloo, Lucie Jones and Jac Yarrow amongst the performers. Both the film and the concert will succeed in demonstrating the continued appeal of the timeless source material.

Cursed (released in 2019)

Since Wicked premiered on Broadway, writers have got mileage out of classic fairy tales and legends by shifting their focus to the supporting cast, The Netflix series Cursed promises to refresh the tale of King Arthur by explaining the origins of the mysterious Lady of the Lake. Cursed is based on a recent novel of the same name created by an unlikely writing team: Thomas Wheeler, a screenwriter and producer who has worked on animated films such as Puss in Boots and The Lego Ninjango Movie, and Frank Miller, the legendary illustrator behind violent and gritty graphic novels such as 300, The Dark Knight Returns and Sin City. Both are executive producers on the Netflix adaptation, working with Silenn Thomas and Zetna Fuentes. Cursed tells the story of Nimue, a girl with mysterious powers who ends up in control of a mysterious sword after her family is murdered. She teams up with a mercenary named Arthur to return the sword to Merlin whilst fighting the soldiers responsible for the crime and the tyrannical ruler who enabled them. The cast will be headed by Katherine Longford, who came to prominence in the controversial Netflix series 13 Reasons Why, and she will be joined by rising star Devon Terrell as Arthur. Adaptations of Arthurian legends have flopped in recent years, but Cursed’s more epic approach and contemporary themes (about respecting nature and resisting tyranny) mean it could gain wider appeal. Netflix have recently put a lot of effort into fantasy series in recent years and Cursed could be an interesting companion to the likes of Dark Crystal: Age of Resistance and The Witcher, whilst successfully winning over a different audience.

The Witches (Released October 9th)

Probably the most iconic children's author of the late 20th century, Roald Dahl provided unique stories which drew on classic fairytale tropes and combined the wondrous and the sinister. The influence of Norwegian mythology on his work was most evident in The Witches, one of his scariest stories. This Whitbread prize-winning tale of a boy who tries to stop the titular villains turning children into mice was adapted into a cult favourite film in 1990, but this new version promises to take a different direction. Although it will be closer to the source material than the earlier movie (Dahl famously hated the happier ending) it is relocating the action to 1960s Alabama, which should provide the opportunities to bring the fight for fight for Civil Rights into the story. Newcomer Jahzir Bruno will play the unnamed protagonist, with Octavia Spencer as his supportive, witch-hunting grandma. However, the main draw is Anne Hathaway, playing the monstrous Grand High Witch. The film is being produced by Guilermo Del Toro, king of adult fairy tale films, and Alfonso Cuaron, who came to prominence after successfully adapting A Little Princess and Harry Potter and the Prisoner of Azkaban. Due to their busy schedules, they have given the directorial reins to Robert Zemeckis, (Although Del Toro had a hand in creating the screenplay). Although his status has waned over the last couple of decades, Zemeckis has directed some truly brilliant films in the past (Romancing the Stone, Back to the Future, Who Framed Roger Rabbit, Forrest Gump), and hopefully The Witches will be a deliciously creepy return to form for him.

Part Two is coming soon!

Tangled the Series – First Season Reviews and Second Season Previews

(Note: This article contains plenty of spoilers for Tangled: The Series)

Last year, Tangled: The Series, a follow-up to Disney’s 2010 animated hit Tangled, premièred on the Disney Channel, allowing Rapunzel, the lost princess of Corona, and former bandit Eugene Fitzherbert (previously known as Flynn Rider) to go on further adventures. The series picks up where the film left off, as Rapunzel and Eugene adjust to life in Corona, and Rapunzel’s new handmaiden Cassandra becomes a feisty new sidekick for the princess. However, things get complicated when Rapunzel comes across magical rocks which cause her long and magical blond hair (cut off at the end of Tangled) to return. The first season ended with the rocks destroying the walls of Corona, and King Frederic allowing Rapunzel and her friends to leave the kingdom in order to find out more about these rocks and their mysterious powers. The second series will continue from here, with Rapunzel getting to explore the world outside of Corona.

The ratings for the first series, whilst not spectacular, remained reasonably consistent in spite of some horrific scheduling. After six episodes, the series went on a three-month hiatus, and then moved to a Sunday prime time slot (putting it in direct competition with the iconic Game of Thrones). For the last few episodes, the show was shifted from Sunday evenings to Saturday mornings, which made it difficult for the shows older fanbase to access it. In spite of this, Tangled: The Series has maintained a loyal and highly enthusiastic audience, gaining three nominations at the Annie Awards and winning a Daytime Emmy. As a result, Tangled: The Series has been renewed for a second season, but it has now been renamed Rapunzel’s Tangled Adventure (more on this later) and will now air on Sunday mornings, starting from this weekend. The series will begin with an hour-long episode called ‘Beyond the Corona Walls’, which will feature brand new songs and start an epic new adventure for Rapunzel.

The New Title

For its second series, the title of Tangled: The Series been changed to Rapunzel's Tangled Adventure. It’s a bit jarring to see the title get changed, but the new name still makes it clear that this show centres on Rapunzel and is part of the Tangled universe. There are both advantages and disadvantages with this new title. It makes it clear that Rapunzel is the main character and her coming-of-age is the central focus of the show. It also implies that the adventure elements of the series (which have always been its strongest aspects) will take centre stage, allowing for a more and consistent tone. However, the new title also seems juvenile and generic, with an uncomfortably close resemblance to the title of the widely criticised Frozen Christmas special Olaf's Frozen Adventure. There is also a risk that an excessive focus on Rapunzel could distract from the other leads. When Tangled gained its title (it had initially been called Rapunzel before being controversially renamed late in production), the filmmakers claimed this was because Eugene was as much of a protagonist as Rapunzel. The idea that the Tangled brand is bigger than a single princess has also informed Tangled: The Series to an extent. During the first season, there were numerous episodes centred on Eugene or Cassandra, with Rapunzel playing a secondary role (there were even episodes where animal sidekicks Pascal and Maximus were the leads). Rapunzel is an interesting character, but so are her friends, so putting them in the background might be a problem. Nonetheless, the new title will not be too much of a hindrance if the stories remain interesting and the characters remain likeable and engaging. Regardless of the title, a series centred on Rapunzel and Eugene will hopefully remain an entertaining show.

A Quick Review

Tangled: The Series is generally great entertainment for fans of the original movie, and even those with little interest in that film will find plenty of merit in it. Disney series are aimed at a younger and narrower audience than Disney films, so they tend to be lighter, softer and less sophisticated than the original movie. However, the first season of Tangled: The Series has plenty of darker and more mature moments, which elevate it above conventional Disney Channel fare. Rapunzel’s experiences being imprisoned in a tower for 18 years have clearly had a significant effect on her psychology, and her two signature traits – her obsession with exploring and need to be liked – can be closely linked to her awful childhood. In two episodes, Rapunzel has to revisit the tower, and it is clear that this is quite traumatic for her. This dark undercurrent does not overshadow the character’s upbeat and fun personality, but it adds an unsettling layer which is more likely to be understood by adults. In addition, there is some welcome emphasis on the pressures and responsibilities Rapunzel faces as a royal, ensuring that the show has more depth than the traditional princess wish-fulfilment fantasy.

As well as having appealing characters and interesting storylines, Tangled: The Series also contains plenty of genuinely impressive animation. The 2D storybook-inspired style may seem fairly primitive compared to the detailed CGI animation of the original film, but the characters remain as expressive as ever, and the bright colours make the series feel like a recognisable part of the Tangled universe. The action sequences are fluid and often impressive, although there are some distracting uses of blocky CGI more suited to an animated series from 1997 than one from 2017. In addition to the lively animated style, there have been some more unusual touches with have enhanced the fairy tale identity of the show. One episode featured a story being told with illustrations from a pop-up book, (which were filmed in stop-motion), and concluded with a scene where the shadows of Cassandra and the villain-of-the-week were projected on the sides of a hot-air balloon as they duelled inside. Meanwhile, the final episode featured a flashback sequence told through mosaics. The interesting storylines, themes and visuals confirm that Tangled: The Series is willing to be creative and take risks, and this ensures that older audiences can enjoy it as much as the children.

However, Tangled: The Series has plenty of flaws, many of which stem from the fact that it tends to alternate between adventure and comedy without combining the two as well as the original film. The central plot arc, involving the growth of the mysterious black rocks, was neglected for long stretches in favour of sitcom antics. Furthermore, the portrayal of the lead characters could be somewhat erratic, with comedic episodes often exaggerating the worst aspects of Rapunzel, Eugene and Cassandra in order to gain cheap laughs. However, it is worth enduring the filler to get to the interesting material. Overall, Tangled: The Series is a pretty solid continuation of the Tangled franchise, and it seems like it will still be worth watching when it becomes Rapunzel's Tangled Adventure.

The Cast

It goes without saying that Rapunzel and Eugene will return, with Mandy Moore and Zachary Levi continuing to bring Tangled’s core duo to life. They are a lively and likeable pair of protagonists and it is fun to see their journey towards the inevitable wedding. The pub thugs at the Snuggly Duckling will accompany them on their adventures, literally putting their tavern on wheels and taking it on their adventures with them. Cute animal sidekicks Pascal and Maximus are also there to provide Rapunzel and Eugene with extra support. The fact that are protagonists are moving away from Corona means that the supporting characters from the first season will mostly be absent from this one. It is doubtful that the quirky denizens of Corona will return in any major capacity, as the mysterious blacksmith Xavier (voiced by Adewale Akinnuoye-Agbaje) is the only one with a real role in the larger storylines. Rapunzel’s parents will also have a significantly reduced role, but Rapunzel’s growing maturity could lead to interesting changes in her relationship with them. Last season, King Fredric (voiced by Clancy Brown) was generally defined by the tiresome ‘overprotective father’ tropes, and his stifling attempts at keeping Rapunzel safe could get pretty annoying. Hopefully, he will be allowed to become a more unique and likeable character, and it would also be great if the underused Queen Ariana (Voiced by Julie Bowen) gained more opportunities to come into her own.

However, for all of the characters who may be absent, the three strongest additions to the Tangled cast will definitely be back for more adventures. Cassandra (Voiced by Eden Espinosa) is going to get more opportunities to fight for Rapunzel and friends after leading Corona into battle at the end of the last season. Eugene’s childhood friend Lance Strongbow (Voiced by James Monroe Iglehart) has joined the pub thugs, which will probably allow him a larger role in the series. Finally, fan-favourite villain Varian (Voiced by Jeremy Jordan) will be back, still looking for revenge on Rapunzel and a means to free his father Quirin from the crystal prison created by the black magic of the rocks. It will be fun to see how these three characters evolve in this season.

A variety of new characters will be added in this series, with many of them being female. Two of the most interesting are Madam Carnadist, a mysterious figure seen in a teaser at the end of last season, and Stalyan, Eugene’s ex-fiancée. Carnadist is voiced by stage and screen veteran Carol Kane, whilst Stalyan is voiced by Yvonne Strahovski. Strahowski’s role is especially significant for fans of the action comedy series Chuck, as she starred opposite Zachary Levi as the female lead. Both characters seem like they will cause significant trouble for Rapunzel and friends, but they will hopefully be given the depth and nuance needed to make them appealing and memorable.

The up and coming Lil Rel Howery will star as a character called Goodberry, and Britt Robertson is voicing a new teenage character called Vex. B-Movie icon Bruce Campbell has been cast as the ‘bizarrely charming’ King Edmund, whilst former James Bond Timothy Dalton (another actor who had a central role in Chuck) will voice an adventurer and inventor called Demanitus. Both have worked with Pixar in the past, but it’s pretty surprising to see them appear in a Disney channel series, and their presence will certainly entertain any fathers who happen to be watching. Meanwhile, Kathy Mixon has been cast as an alluring character called Seraphina and Kathy Namijy will voice an eccentric forest dweller. The most recent actor confirmed to be joining the cast is Lance Henriksen, who will apparently be voicing the Baron, a hitherto unseen crime boss whose minions have created trouble for Eugene and Lance in previous episodes. It is likely that all these characters are going to be recurring presences, and we could see further celebrities make one-off appearances throughout the season. The first season featured one-episode guest appearances from the likes of Danny Trejo, Bradley Whitford, Jane Krakowski and Ellen Greene, and more notable actors and actresses could follow in their footsteps.

Tangled: The Series Soundtrack – A Review

Tangled: The Series is not a full-on musical series in the vein of something like Glee or Crazy Ex-Girlfriend, but it often makes use of music, with each of the three ‘tentpole’ episodes containing two or three songs. Past animated series based on Disney films, such as The Little Mermaid and Hercules, also had semi-musical formats (although they featured more songs than Tangled: The Series), but Tangled: The Series stands out because it is the first Disney Channel series to feature new songs from Alan Menken, who composed the music for Disney classics like Beauty and the Beast and Aladdin. Menken wrote the songs for Tangled with Glenn Slater, and the duo returned to create ten new songs (two of which are reprises). The three ‘tentpole episodes’ of Tangled: The Series are pilot episode Tangled: Before Ever After, winter special Queen for a Day and season finale Secret of the Sundrop. All three feature songs which range from enjoyable diversions to genuinely interesting anthems worthy of comparison to the music from the original film – a pretty impressive feat given the reduced standards of a Disney Channel series.

The songs mostly fit an upbeat guitar-pop style reminiscent of ‘When Will My Life Begin’ from the original Tangled. Although this relative sameness narrows the audience (if you dislike acts such as Colbie Caillat, or hate the early songs of Taylor Swift, this soundtrack is not for you), it generally suits the sunny fairy tale approach of Tangled: The Series, even if the use of electric guitars in ‘Life After Happily Ever After’ and ‘I’ve Got This’ feels a bit jarring. However, it’s no coincidence that the best songs in the soundtrack are the ones which do something a little different. The translation of the songs from screen to album is somewhat inconsistent, as some songs keep the dialogue surrounding them (‘I’ve Got This’ and ‘Listen Up’) but in for other numbers (‘Wind in My Hair (reprise)’ and ‘Ready as I’ll Ever Be) all the extra dialogue gets cut. It’s no surprise to learn that former popstar Mandy Moore, and Broadway regulars Zachary Levi, Eden Espinosa and Jeremy Jordan, all give excellent performances, as they really do a great job bringing their characters to life. Clancy Brown does not have their technical ability, but his smooth and deep voice is always a pleasure to listen to.

The overriding theme of Tangled: The Series is Rapunzels’ struggle to balance the pressures and responsibilities of royal life with her own desire to see the world and go on adventures, and the songs in Tangled: Before Ever After, set this conflict up pretty strongly. The opening song, ‘Life After Happily Ever After’ does a solid job establishing what life is like in Corona’s royal palace for Rapunzel, Eugene and King Frederic. It also introduces the reliably compelling ‘after ever after’ theme of the series, as Rapunzel realises that struggles to cope with the pressures and responsibilities of life as a princess. The song conveys the rush of Rapunzel’s royal life very well, and the downbeat ending does a good job of highlighting Rapunzel’s anxieties. ‘Wind in My Hair’ is the second song from Tangled: Before Ever After, but it appears first on the album, most likely because it functions as the theme song for the entire Tangled series. As a lively pop anthem, it works excellently in this context, as it highlights Rapunzel’s enthusiasm and her desire to go on adventures, which is the overriding theme of the series. The song also gets a short reprise at the end of the episode, further cementing its status as the signature tune of the series.

Queen For A Day shows Rapunzel being put in temporary charge of the kingdom while her parents are away. Whilst managing life in Corona, she sings ‘I've Got This’, which adds old-fashioned folkier elements to the Tangled sound. It’s another energetic tune, but it features Rapunzel realising she is out of her depth as ruler of Corona, as every decision she makes leads to further problems. It is followed by ‘Let Me Make You Proud’, the signature song for new character Varian. This troubled young alchemist seeks to make his father Qurin proud at all costs, and his single-mindedness begins to turn into fanaticism throughout the episode. As Varian heads to Corona in a doomed attempt to seek help for Qurin, he sings this soaring power ballad, which is full of energy and passion, and easily the best song on this soundtrack. The short, downbeat reprise at the end of the episode sets up Varian’s descent into villainy in powerful fashion, as his pain and dismay at losing Quirin turns to anger. The closing lines are delivered in an aggressive fury which is genuinely quite menacing. Overall, Varian is probably the best Disney villain since Mother Gothel from the original Tangled, and the two versions of ‘Let Me Make You Proud’ demonstrate why he is such an effective character.

Although the vast majority of music in Tangled: The Series is confined to the tentpole specials, two songs came from other episodes. Pascals Story features a catchy new song called ‘Friendship Song’, sung by 15 year-old The Voice semi-finalist Brennley Brown. This tune was only heard for about 30 seconds in that episode, and is probably better in that smaller dose, as Brown’s energetic but immature voice and the relentlessly upbeat arrangement make the song feel rather cloying when extended to four times that length. Meanwhile, ‘Listen Up’ comes from Halloween special The Wrath of Ruthless Ruth. The song is performed by the titular ghost, who haunts the Snuggly Duckling tavern until she gets to fulfil her dream of singing in public. It represents a bit of a departure from the Tangled: The Series style, with a ‘haunted house’ atmosphere which is pleasingly spooky but never remotely scary – essentially, it’s what you would expect from a Halloween special for a Disney Channel series, but it’s still fun to listen to.

The two songs from season finale Secret of the Sundrop come late in the album, as they effectively feel like eleven o'clock songs for the first season as a whole. ‘Set Yourself Free’ is one of the weaker numbers on the album, as it sounds a little too much like a slightly more sombre version of ‘Wind in My Hair’. However, Mandy Moore does a good job of conveying Rapunzel’s need to keep her spirits up and her desire to escape the confines of her castle. The second song in the special, ‘Ready as I’ll Ever Be’ is far better. As Varian, Cassandra and Rapunzel prepare for the final battle, this song provides a warlike, invigorating prelude to the climax, demonstrating how strong the series can be when dealing with big themes and providing epic adventures.

The album concludes with ‘More of Me’, an end credits song performed by Natasha Bedingfield, who had big hits in the mid 2000’s with songs like ‘These Words’, ‘Pocketful of Sunshine’ and ‘Unwritten’. Her generally sunny and optimistic style is an excellent fit for the Tangled universe, but ‘More of Me’ also has a more modern feel which separates it from the rest of the songs on this soundtrack. It probably would have been a decent hit if Natasha had released it as a single at the peak of her career.

Overall, the Tangled: The Series soundtrack is a decent little album for fans of Tangled: The Series. When all the songs are put together, it becomes clear that their lively guitar-based approach can get a little annoying when overused. However, like the larger series, this soundtrack is colourful and entertaining, and there are enough genuinely interesting songs and moments to give it a much-needed edge.

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