Future Fairy Tale TV Series #1 - Tangled: The Series

In November 2010, Disney released Tangled, their take on the classic Brothers Grimm fairy tale Rapunzel. Depicting the adventures of Rapunzel, a sheltered teen with 70 feet of magical blonde hair, and the charming outlaw Flynn Rider (real name: Eugene Fitzherbert), Tangled marked Disney's return to form after over a decade in the wilderness, making over $590 million worldwide, and paving the way for the likes of Frozen and Moana. Although the protagonists of Tangled appeared in a 2012 short called Tangled Ever After, which depicted Rapunzel and Flynn getting married, Tangled has been overshadowed by Disney's more recent hits. However, Rapunzel, Flynn and their friends are about to return, as Tangled: The Series, which is set between the film and Tangled Ever After, will arrive on the Disney Channel next month, almost 2 years after it was initially announced.

Tangled:The Series is the thirteenth animated series to be spun off from a Disney animated film, following in the footsteps of shows like Aladdin: The Series and The Lion Guard. It will begin with a TV movie called Tangled: Before Ever After, which will air on the Disney Channel on Friday March 10th, with the series proper starting on March 24th. Tangled: The Series will last for three seasons, consisting of a total of 78 episodes. In addition, there will be two further TV movies after Tangled:Before Ever After, one airing in November, and the other airing in February 2018. There will also be four animated shorts released on April 11th (It is currently unknown whether these shorts will be standalones like Tangled Ever After, or form a continuous story like Frozen:Northern Lights). All in all, it seems like Tangled fans will be kept happy for a very very long time...

The Plot

Tangled:Before Ever After picks up where the movie left off, with Rapunzel being reunited with her parents, the King and Queen of Corona. However, whilst her father and Flynn (now back to being called Eugene) want her to settle down and embrace the responsibilities of life as a princess, Rapunzel would prefer to explore the world beyond the castle walls, aided by her new lady-in-waiting Cassandra. During the course of one adventure, Rapunzel comes across a set of mysterious stones, which causes the enchanted hair that got cut off at the end of Tangled to magically grow back. The rest of Tangled: Before Ever After, and the subsequent TV series, will depict Rapunzel's attempts at dealing with the return of her hair and healing powers, and her relationships with her friends and family.

The Characters

The two main characters in Tangled: The Series will be the movie's central couple, Rapunzel and Eugene, with Mandy Moore and Zachary Levi returning to voice them. Rapunzel wants to make up for 18 years stuck in a tower by doing as much exploring as possible. Meanwhile, after years as an outlaw, Eugene would prefer to live a normal life, hence his return to using his birth name. They will be accompanied by Rapunzel's two animal companions, her pet chameleon Pascal and crime-fighting horse Maximus, both of whom will probably steal as many scenes as they did in the movie. Also returning are the "pub thugs" who Rapunzel befriended in the original movie, such as Big Nose and Hook Hand. Their menacing looks contrast with their friendly personalities and passion for innocent hobbies such as piano playing and collecting ceramic unicorns. One of the most important reasons for Tangled's success was the strong  and appealing set of protagonists, and it will be great to see them go on new adventures.

Rapunzel's parents will also be central to Tangled:The Series Although they appeared in Tangled, they were not named and did not speak. They will have a much larger role here, with Rapunzel's father, King Frederic, being voiced by Clancy Brown, and her mother, Queen Ariana, being voiced by Julie Bowen. Both of these actors are intriguing choices. Aside from his portrayal of demanding boss Mr. Krabs in Spongebob Squarepants, Clancy Brown is almost entirely known for his villain roles (whether in live-action films such as Highlander and The Shawshank Redemption, or animated shows such as Superman:The Animated Series and Avatar:The Last Airbender), so it will be interesting to see him apply his signature deep and powerful voice to a loving (albeit overprotective) father. Meanwhile, as Queen Ariana, who shares her daughter's free-spirited nature, Modern Family star Julie Bowen is replacing Ashley Judd, who was originally cast in the role. It seems like Rapunzel's relationship with her parents will provide the series with its emotional core, and the 78 episodes and 3 TV Movies planned for Tangled: The Series represent an ideal opportunity to explore this in greater depth.

There will also be a variety of entirely new characters. The most prominent of these is Cassandra (voiced by Eden Espinosa), a feisty handmaiden who aspires to follow in her father's footsteps and join the Royal Guard. Other characters include a pirate called Lady Caine (voiced by Laura Benanti), who will be the primary villain in Tangled:Before Ever After, Lance Strongbow, one of Eugene's former associates (voiced by James Monroe Iglehart, who won a Tony for playing the Genie in the Broadway version of Aladdin), Varian , a teen alchemist (voiced by Jeremy Jordan), a Blacksmith called Xavier (voiced by Adewale Akinnuoye-Agbaje), and Old Lady Crowley (voiced by Ursula herself, Pat Carroll, who is nearing 90 but still sounding awesome). We know little about these characters at the moment, but given the high-quality voice cast, we can assume that they will be pretty memorable.

The Animation

In contrast to the movie's elaborate CGI 3D animation, Tangled: The Series is animated in 2D. The 2D animation style used has a rougher, more primitive look similar to concept art. It also resembles children's storybooks, such as the Little Golden Books series. However, whilst it's not going to emulate the finesse and detail of the original film, the animation for Tangled: The Series is bright and expressive. Tangled was the first Disney Princess film to be made with 3D animation, so it's really nice to see Disney return to their roots in traditional animation with this series.

The two people most responsible for the animation on Tangled: The Series are Alan Bodner, the Art Director, and Claire Keane, who will be Visual Development Artist. The daughter of veteran Disney animator Glen Keane, Claire worked on the original Tangled, and her colourful approach (she created the murals which Rapunzel paints in her tower during the movie) is perfect for the series. Though the hair does not look as realistic, the animation for Tangled: The Series is pretty good when you consider the pressures of working on an animated series (you need to produce much more material in a far shorter time period),  and it provides a very distinctive look, but one which emulates the style of the original film enough to be recognised as part of the same universe.

The Songs

Claire Keane, Mandy Moore and Zachary Levi are not the only people from Tangled to return for the Tangled: The Series, Alan Menken and Glenn Slater, who wrote the songs for the original movie, will create new songs for the show. One of the songs they wrote for Tangled:Before Ever After, "Wind in My Hair", has just been unveiled. It's a catchy little pop song, which does a great job of conveying Rapunzel's free spirit and passionate nature. Another tune, "Life After Happily Ever After", will be released online the morning before Tangled: Before Ever After premieres. Alan Menken has earned his status as a Disney Legend, and Glenn Slater has worked with him as a lyricist since 2004. Hopefully, they will ensure that the songs in Tangled: The Series will be worthy of standing alongside the likes of "When Will My Life Begin?" and "I See the Light".

Summary

Whilst the original movie tried to please as wide an audience as possible, Tangled: The Series will seemingly be aimed primarily at preteen girls. However, this isn't a bad thing, as long as there is enough to keep other viewers interested and engaged, and those outside the target demographic will probably enjoy Tangled: The Series as well. Judging by what we know so far, it seems like it will retain the spirit of the original film, whilst taking Rapunzel's story into exciting new territory. This means that it is going to be a must-see for Disney fans, and enjoyable entertainment for children and parents.

Fairy Tales and Fanfiction

A Personal Introduction

In addition to my love of fairy tales and Disney films, I am a very passionate fan of fanfiction. In this article, I will discuss why I love fanfiction so much, and how it ties into my interest with fairy tales.

This article will often diverge from the fairy tale/classic mythology focus of this blog in order to discuss TV, film and literary franchises which have inspired particularly large and prominent fanfiction communities, such as Sherlock, Harry Potter and Twilight. However, there will still be significant emphasis placed on fanfiction based on classic stories and ‘fairy tale’ films. A further guide to which works are discussed on this blog can be found here.

A Brief Guide to Fanfiction

Fanfiction can be defined as stories which centre on characters from existing books and films. Within this field, there are numerous subgenres, including: ‘Shipping’ (fanfics which pair two characters in a relationship which tends to be romantic in nature), AUs (stories set in an alternate universe), ‘Fix Fics’ (stories which rectify issues with the source material) and straightforward sequels and prequels.

As long as there have been stories, authors have tried to respond to them explore the worlds and characters they depict from a new perspective. This has fuelled a number of classic stories, ranging from Virgil’s Aeneid to The Wide Sargasso Sea (Jean Rhys’ re-interpretation of Jane Eyre) which have placed characters from an existing story into a new one. One of the most famous examples of this is Tom Stoppard’s play Rosencrantz and Guildenstern are Dead, which tells the tale of Hamlet from the perspective of two peripheral characters. When established authors and directors create new stories in familiar universes (examples of this range from Anthony Horowitz’s Sherlock Holmes story A Touch of Silk to J.J. Abrams' reboots of the Star Trek and Star Wars franchises), the end product is often described as fanfiction. However, when fanfiction is discussed on this blog, it will almost entirely be the work of amateur authors. The concept of a ‘professional author’ emerged in the 18^th century with the birth of the full-length novel, and this led to literary fans trying to emulate the work of their idols. With the onset of the internet age, Fanfiction reached new heights of popularity. There are a number of online forums where these writers share their work, with the three most prominent fanfiction sites being Fanfiction.net. Archive of Our Own and Wattpad.

Differences Between Fanfiction and Fairy Tales

One difference between fanfiction and fairy tales is their perspective on character. Fairy tales often rely on moral certainties, with protagonists who are defined by their purity and innocence. The emphasis tends to be on the story and the moral lessons which it contains, meaning that the characters primarily exist to move from event to event and highlight the story’s messages.  In contrast, there are many fanfics which focus on the inner thoughts and feelings of characters and emphasise ‘angst’ and other extreme emotions in a way which most fairy tales don’t. As many fanfics are based on films and TV, writers often take advantage of the new medium and aim to get into the protagonist’s head in a manner which is difficult to do in the visual medium of film, or the plot-based medium of fairy tales.

In addition, whilst fairy tales are generally family-friendly, fanfiction is primarily aimed at teenagers and adults. Fairy tales are primarily designed to be read to children. Though they contain some violence, this is often depicted in a very simplistic style. We hear about the gruesome things which happen to the villains, but we don’t actually see them. Furthermore, whilst fairy tales often have sexual symbolism and undertones, they almost never depict sex itself. In contrast, fanfiction has a reputation for relying too much on graphic sexual content. This perception has been encouraged by the dominance of ‘shipping’, which tends to be romantic in nature. Sherlock star Benedict Cumberbatch is among those to associate erotic fanfiction with the form in general, as he once complained about stories which show “me and John Watson floating in space on a bed handcuffed to one another”. The perception that fanfic authors are focused on sex over story has also been encouraged by the infamous erotic novel Fifty Shades of Grey, which began life as a Twilight AU called ‘Master of the Universe’. The notoriety of E.L. James' signature story has led to significant attention to its provenance, and as ‘Master of the Universe’ fulfils many of the stereotypes associated with fanfiction, it has reinforced perceptions surrounding the genre.

However, the most problematic difference between the two forms of story is their legal status. Fairy tales are in the public domain (as are almost all works from before the 20^th Century), as enough time has elapsed since the author's’ death to allow people to use their work for any purpose without having to pay royalties. This is one reason why it’s so easy for studios such as Disney to adapt them into their own stories. In contrast, most works of fanfiction are based on the creations of living authors. This makes their legal status ambiguous, although the fact that they are non-commercial works means that creating them can be considered an act of ‘fair use’ and thus, they seem to be exempt from legislation concerning plagiarism and copyright infringement. Whether authors support them or not is a matter of personal taste. The likes of J.K. Rowling and Stephenie Meyer have endorsed fanfics based on their work (albeit with some reservations), but other prominent authors, such as Annie Proulx and George R.R. Martin, have been vocal about their distaste for fanfiction, expressing the belief that it disrespects the world they created, and arguing that it is lazy to write a story centred around pre-existing characters. These complicated issues mean that the world of fanfiction is focused on relatively small and exclusive communities, unlike fairy tales, which are designed to provide lessons for a wide audience.

A Wide Range of Genres

The term ‘fairy tales’ refers to a form of story rather than a genre. Therefore, whilst fairy tales have plenty of common tropes (such as the use of fantasy elements and supernatural creatures), they can belong to a wide range of categories. For example, Hans Christian Andersen’s collection of stories include satire (The Emperor’s New Clothes), adventure (The Snow Queen), romantic tragedy (The Little Mermaid) and social realism (The Little Match Girl). This diversity of genres also applies to fairy tale films. Most Disney films seem to belong to a distinct genre of their own, as they combine adventure, comedy, romance and music into a joyous and entertaining package. Meanwhile, Shrek is primarily a comedy, whilst Snow White and the Huntsman assumes a dark fantasy style. There are even a number of ‘fairy tale’ films in the horror genre, such as In the Company of Wolves. This highlights the manner in which the term ‘fairy tale’ can cover a truly diverse range of stories.

Fanfiction also incorporates a variety of genres.  Fanfiction.net classifies stories by putting them in categories ranging from Adventure and Family to Spiritual and Tragedy.  The fact that a single story can inspire works in so many subgenres indicates the universal appeal of the characters, the world they inhabit, and the stories which can be told with them. It may seem totally incongruous to imagine Disney princesses in a Sci-Fi story, but on Fanfiction.net, Frozen (which is, by some distance, the Disney film which has inspired the most fanfics) has 83 fanfics in this category. Many fanfic authors recognise that best characters are able to retain the traits which make them unique and appealing across a wide range of stories, and this has encouraged them to place familiar protagonists and antagonists into unfamiliar genres. Therefore, the field of fanfiction, like the fairy tale genre, is defined by the infinite possibilities it offers.

The Impact of the Source Material

Throughout history, fairy tales have been used to communicate messages and beliefs which are important to the storyteller. They often teach morality to audiences, with virtue and selflessness being rewarded, and disobedience and dishonesty being ruthlessly punished. As fairy tales convey important messages in a clear, fascinating and engaging fashion, they can have a significant influence on the world view of those who read them or listen to them being told.  Another visible example of the importance of folklore is Mythology. Though the stories of gods and heroes from ancient Egypt and Greece have survived due to their compelling characters and plotlines, they had great significance within their own cultures, as they could be used to teach people about the wider world. The predominance of creation myths across the globe to explain natural phenomena leads to a greater degree of insight into the unique and beautiful features of the world which are too often taken for granted. Fairy tales and myths are perfect examples of the way in which stories can be used to allow the messages and ideas which mean the most to the storyteller to be transmitted to a wide audience.

Fanfiction is also motivated by the desire to make people appreciate something which the storyteller finds important, though in this case, the thing which the storyteller finds important takes the form of an existing book, film or TV show. In recent years, fanfiction has been increasingly recognised as a means to demonstrate passion for a work and can even increase publicity for it. The 2012 animated film Rise of the Guardians was not a huge success on its initial release, making an underwhelming $306.9 million worldwide. In contrast, Frozen made roughly $1.276 billion worldwide the following year. However, when fans noticed the similarities between Rise of the Guardians protagonist Jack Frost and Frozen’s Queen Elsa (For starters, they both have the power to control ice and snow), fanfics shipping ‘Jelsa’ as a couple became incredibly popular. On Wattpad alone, there are over 6,800 stories about the duo. This means that Rise of the Guardians has gained the attention of numerous Frozen fans who had previously not given the movie a second thought. Some producers have deliberately tried to use fanfiction to promote their works. Many Star Trek fanfics have been published in print, and in order to promote the introduction of a new character in the drama series The United States of Tara, the cable channel Showtime created an entire fansite devoted to her fictional creations. Fanfiction exists because fanfic writers are enthusiastic enough to devote time and effort to stories about their favourite characters. These displays of passion demonstrate the power and appeal of the source material, just as retellings of fairy tales and myths are proof that they can resonate across the generations.

A Personal Spin

When the Brothers Grimm began collecting fairy tales, their intent was to preserve the stories as faithfully as possible, as representations of the German culture which they belonged to. However, over a period of 45 years, they gradually altered their tales to make them appeal to a wider audience. Meanwhile, many of Hans Christian Andersen’s stories were adapted from existing fairy tales, including Thumbelina and The Wild Swans. The extent to which fairy tales rely on the storyteller to make them unique is shown by the fact that fairy tales and folklore from all over the world often rely on common story types, with distinctive touches provided by the storytellers and the beliefs and culture which inspire them. Philip Pullman put it best when he stated that “a fairy tale is not a text”, and storytellers are free to alter it as they wish.  The wide range of variations on a single story type demonstrates that any fairy tale depends on the storyteller, as they emphasise their personal interests and skills, and use their native culture to enrich their tales.

Fanfiction also benefits from the unique perspectives which the author can bring to the characters and story which they are using. For example, “What-if” stories (e.g What if – Harry Potter was sorted into Slytherin?) show some of the changes which could have occurred if something happened a little differently. In doing so, they draw attention to the ways in which these events could have affected the characters and the story. There are also plenty of fanfics which provide the opportunity to see a familiar story take place in a new location. For example, Disney fans can enjoy a retelling of The Little Mermaid set in modern-day Australia, and a twisted take on The Princess and the Frog which takes place in the medieval era. The new setting for these tales encourages unique touches and innovations which makes them stand out. Like the best storytellers, fanfiction authors find ways to allow their stories to reflect their own interests, and this personal touch allows fanfics to feel distinct and gain a unique life of their own.

Conclusion

Even the most ardent lover of fanfiction will have to admit that many pieces of fanfiction are badly written. However, even the worst fanfiction is generally created by people who are passionate about the source material, and their willingness to put time and effort into new stories with their favourite characters demonstrates the importance and impact of the works which inspired them. 

Furthermore, there are thousands of high-quality fanfics with compelling stories which provide 

fascinating perspectives on the characters who inhabit them and the universe in which they are set. These aren’t just excellent tributes to the source material, they are great tales in their own right.

Ultimately, whilst there are plenty of differences between fairy tales and fanfiction, there are also a number of similarities. Both forms of fiction incorporate a wide range of genres, ranging from comedy and romance to horror and thriller. They also showcase the importance which storytellers attach to existing works. Most importantly, they both represent the way in which storytellers put their own personal spin on familiar stories and characters. Just as fairy tales are known for the variety of ways in which they can be adapted, fanfiction highlights the versatility and enduring appeal of the original stories which inspire it.

In the future, there will be a number of articles on this blog drawing attention to some particularly high-quality fanfics inspired by Disney films, classic literature, and fairy tales. It is going to be a real pleasure to share some of these stories with a wider audience. 

Moana - Articles and Interviews (Part 2)

Since it was released in America over Thanksgiving weekend, Moana has been a huge critical and commercial success. It has a 95% positive score on the review aggregation website Rotten Tomatoes, based on nearly 200 reviews, and has already been nominated for six Annie Awards and two Golden Globes. In addition, the film has currently made $284.5 million worldwide, and it's yet to be released in countries such as Australia and Japan. I saw Moana a fortnight ago, and I really enjoyed the film. The characters and story were interesting, and the songs and animation were excellent. Overall, it's another Disney classic.

Last month, I posted a set of articles about the film, mostly focused on the pre-release publicity. Here are 21 more articles about the movie. These range from interviews with people involved in making Moana to articles discussing the positives and negatives of the film's portrayal of Polynesian culture. 

Interviews with the Cast 

With the exception of Alan Tudyk (who voices the dim-witted chicken Heihei and gets a couple of lines as an unnamed villager), all the voice actors involved in Moana are Polynesian, or have Polynesian ancestry. They given a number of interviews where have praised the manner in which Moana brings their native culture to life.

Dwayne Johnson, star of Moana and the Sexiest Man Alive, is also a big ol’ crybaby - 2016's highest-paid actor, Dwayne Johnson (AKA The Rock), who voices Maui, is unquestionably the most famous person in Moana's voice cast. In this interview, he talks about how he"cried multiple times" when he saw the finished product, and praises its portrayal of Polynesian values.  He also reveals who his favourite Disney villain is, and how this inspired his portrayal of Maui. 

Jemaine Clement's 'crabulous' role in Disney's Moana - Flight of the Conchords star Jemaine Clement voices one of Moana's most memorable characters, the giant kleptomaniac crab Tamatoa. In an interview with Jack Van Beynen, he discusses what it's like to be a voice actor, and even briefly mentions Moana's fandom. This article also mentions a comedic play about Maui written by Clement and Taika Waititi 12 years before the Disney film came out. 

Jemaine Clement Talks Playing A Giant Crab In Moana, Channeling David Bowie And Maori Myths (Exclusive) - A second interview with Jemaine Clement, in which he predominantly discusses the creation of Tamatoa's signature song, "Shiny". He also talks about improvising a number of lines which were cut from the finished film, and mentions the "terrifying" nature of many Maui myths from the Maori culture.

Temuera Morrison and Rachel House on whether Moana is cultural appropriation - Two of the most prominent stars in Moana are the Maori actors Temuera Morrison (who voices Moana's father, Cheif Tui) and Rachel House (who voices Moana's grandmother, Gramma Tala). In this article, they both talk about what it was like to work with Disney, and praise Moana's portrayal of their culture. They also express hope that the movie will lead to increased interest in Polynesian stories. 

Interviews with the Crew 

A wide range of people are involved in the production process of an animated movie, ranging from producers and directors to costume designers. Several of the most prominent people to work behind the scenes on Moana have talked about the contributions they made to the movie, including a large number of people from the Polynesian islands. 

Disney's Moana: how Kiwis made it happen - This article from the New Zealand website Stuff centres around an interview with Moana's directors Ron Clements and John Musker, who discuss the contributions made by a number of important "Kiwis"; screenwriter Taikia Waititi (who wrote the first draft of the movie, and provided much of its "architecture"), actors Temuera Morrison, Rachel House and Jemaine Clement, and songwriter Opetaia Foa'i. Clements and Musker provide a number of interesting anecdotes, especially when they discuss how Morrison would prepare for recording sessions by speaking Maori. 

Moana is Making Waves Around Globe- Whilst Stuff's article focused on the New Zealanders who worked on Moana, this article from Voa News focuses on the Hawaiian cast and crew, especially Aaron and Jordan Kandell, a pair of Hawaiian twins who were among the seven people credited with writing the story. Voa News' article is full of interesting information, with Aaron Kandell discussing how his experiences as a wayfinder inspired his contributions the movie, and Jordan discussing the Moana's feminist messages. There is also a contribution from a friend of Auli'i Cravalho, the girl who voiced Moana. . 

Niuafolau’s experience contributing to ‘Moana’ - The Samoan anthropologist and historian Niuafolau Dionne Fonoti was part of the "Oceanic Story Trust", a group of experts in Polynesian culture who worked to ensure that Moana would portray their culture as authentically as possible. In this article, she discusses her initial concerns about working with Disney, but states that the hard work has paid off, as Disney "understood our cultures". Fonoti is also proud that Moana has been very popular in Samoa. 

Opetaia Foa'i Talks Disney's Moana & Helping To Bring Polynesian Culture To Life Onscreen (Exclusive)- Whilst a lot of the advance publicity for Moana has focused on the fact that the soundtrack was written by Hamilton creator Lin-Manuel Miranda, the contributions made by Opetaia Foa'i, lead singer of the group Te Vaka, were equally important in creating the movie's music. In this article, Foa'i talks about the attention which Moana has received, and the need to include key aspects of Samoan culture in the film. 

Reactions from Polynesia

Critics and viewers all over the world have reviewed Moana, but the most important reactions are those from the Polynesian communities whose culture and mythology inspired the movie. They have generally reacted positively to the film. 

Some Things About Disney’s “Moana” That Real Polynesians Want You To Know - This article on Buzzfeed examines how a range of Polynesian people reacted to the movie. 25 Polynesian people provide their opinions on different aspects of the movie. They seem to reach a consensus that Moana and Gramma Tala are the two best characters, but there is some criticism of couple of liberties taken by Disney (such as the idea of Moana becoming her Island's chief) . The Polynesian cinemagoers generally support Moana's portrayal of their culture, and are pleased about the increased publicity it has received as a result of the movie. 

Steve Soltysik teaches Wilcox 2nd graders about Polynesian navigation, Hokulea - This article centres around Steve Solysik, who teaches Hawaiian children about Polynesian traditions of navigation and wayfinding. At one point, he acknowledges that Moana has led to increased interest in these aspects of Polynesian culture. Solysik's comments provide important insights into the roles which movies can play in bringing important customs and traditions to mainstream attention. 

West Hawaii families praise ‘Moana’ - This article focuses on how West Hawaiian families have reacted to Moana. The people interviewed describe Moana as "meaningful", and claimed that the movie excited them enough to give them "chicken skin" (i.e goose bumps), even if its depiction of Polynesian lifestyles was more influenced by Samoan and Tongan cultures. 

Praise and Criticism 

Moana has received plenty of praise for its animation, music, strong lead character and portrayal of Polynesian life. However, the movie has also gained criticism for the way in which it combines elements from the culture and mythology a wide range of islands to form a single idyllic vision of Polynesia. There have also been some articles discussing how the movie relates to environmental issues. 

"Consider the Coconut": How Moana uses Polynesian culture to create a prototypical Disney story- Taking its title from a line in Moana's opening song, "Where You Are", this article on Slate discusses its portrayal of Polynesian culture. It praises the Polynesian cast and music and the portrayal of wayfinding, but notes that the movie closely follows the traditional Disney formula in many ways, highlighting the fact that it is primarily a product aimed at mass audiences. Overall, this article is very interesting, as it provides plenty of insights into "the complicated interaction between culture and commerce". 

How the Story of "Moana" and Maui Holds Up Against Cultural Truths - In this article, Smithsonian scholar Doug Herman discusses the positives and negatives of Moana's portrayal of Polynesian culture. He praises the movie's depiction of Polynesia's wayfinding history, which he refers to "as the greatest human adventure story of all time" but criticises the depiction of Maui and the overly romanticised portrayal of tribal life. He also believes that the troublesome Kakamora, who wear coconuts as armour, perpetuate stereotypes of the Polynesians as "Coconut people". Though I don't agree with all of Herman's complaints, he provides an engaging and balanced article which provides some very interesting information on Polynesian culture and traditions. 

Moana Movie: That Chicken is a Historical Interest, Not Just a Side Comic- There is plenty of interest in Polynesian culture in the Philippines, and many Filipinos believe that the Polynesian people originated from Southeast Asia. This article discusses this theory, and how Moana's chicken sidekick, Heihei, may be a homage to it. Heihei is a Bantam Rooster, and this species can be found in both the Phillipines and Hawaii. This article provides some interesting observations about the origins of Polynesian culture, and its links to Southeast Asia. 

Princess Moana, the Rogue One rebel, the Eagle Huntress: meet film’s female heroes - This article from The Guardian aims to look at a number of films released in the UK during December which feature strong female protagonists. However, it primarily focuses on Moana, mentioning how a number of writers have reacted to the titular protagonist and her movie.  Although the article mentions the small but vocal group of critics staunchly opposed to the idea of Disney making a film about Polynesian culture, the majority of people who contribute their opinions are full of praise for Moana, and hope that its success will lead to an increased number of films with "diverse and interesting characters"

The Hole in Moana’s Heart - Whilst most criticisms of Moana have focused on its portrayal of Polynesian mythology, the environmentalist Edward Stanton argues that a bigger problem is the movie's failure to engage properly with environmental concerns, as "People, not gods, were the cause of environmental devastation on Pacific Islands." Many of the tribes who settled on the Polynesian islands were affected by ecological decline, which eventually led to famine, especially in Rapa Nui (Easter Island). Stanton believes that Moana's refusal to discuss this reality is based on a desire to avoid offending people, and the movie needed a stronger approach in order to highlight the destructive effects of human disrespect for the environment. 

What Standing Rock and 'Moana' Have in Common - This article from Vice tries to link the themes and messages of Moana to the protests at Standing Rock, where Native Americans and environmental campaigners have fought to prevent the construction of an oil pipeline across sacred Sioux lands. Like the protestors at Standing Rock, Moana is fighting to preserve her land and her community. However, whilst Moana 's success highlights the power of the individual, the protestors at Standing Rock managed to get the pipeline withdrawn through mass protests and collective organisation.  

Criticism of Maui

One of the most polarising elements of Moana (especially among the Polynesian community) is the depiction of Maui. The revered demi-god is portrayed as a comic relief sidekick whose bravado hides some deep insecurities. Although I was generally OK with Moana's take on Maui, his bulky build and egocentric behaviour (especially in his early scenes) have annoyed a number of experts, who have provided some strong criticisms.

Goddess Hina: The Missing Heroine from Disneyʼs Moana - In this article, Tevita O. Ka'ili, a cultural anthropologist from Tonga, argues that one of the most problematic features of Moana is the omission of  the powerful goddess  Hina.  She is traditionally portrayed as Maui's female counterpart, (the exact nature of her relationship to Maui varies from island to island), and Ka'ili argues that the failure to include Hina leads to an overly simplified portrayal of Polynesian mythology, magnifying the problems with the movie's depiction of Maui. He regards the omission of Hina as an example of "Disneyfication" and concludes that "Disney lacks the cultural depth to tell our stories". 

Maui needs to Maui - This letter, written to the Samoan Observer, gets its title from the fact that the Samoan verb "maui" (spelled the same as Maui's name, but pronounced differently) means "to shrink". The writer, LV Letalu , argues that the decision to reduce Maui's power and increase his flaws is based on the need to emphasise Moana's status as the movie's protagonist, with Maui assuming the role of her "foil".

Moana and Resistance Spectating - Richard Wolfgramm's article for Medium.com focuses on the need to be a "resisting spectator" and watch movies like Moana with a critical eye. Whilst he praises several aspects of the film (such as the animation and Auli'i Cravalho's voice acting), he brutally attacks the portrayal of Maui, believing that he is reduced to an "arrogant, egotistical [and] self-absorbed" caricature rooted too heavily in Western stereotypes. Wolfgramm makes some interesting points about the uneasy relationship between big American film studios such as Disney and the minority cultures they often depict, but I passionately disagree with his claims that Moana's directors were motivated primarily by money. 

The Supersize Cliché in ‘Moana’ - This article in the New York Times is written by Lawrence Downes. He argues that Maui's design perpetuates the stereotype of "humongous Hawaiians", leading to greater ignorance of the fact "that Islanders come in all sizes". Although Maui's energy and agility confirms that his huge size is due to muscle, not fat, Downes raises some important concerns regarding the depiction of Polynesian males in the media.

Summary

All the articles listed above discuss Moana's portrayal of Polynesian culture, They provide a range of opinions, from praise for the movie's vibrant animation and depiction of wayfinding, to criticism of its take on Maui. In addition, the people who wrote the articles and the experts interviewed or quoted by them provide a number of fascinating insights into the mythology and customs which inspired Moana. Regardless of whether you're a fan of the film or not, these articles are all worth reading.

Christmas TV and Films

During the Christmas Season, the British TV schedules include a number of excellent TV programmes and films which aim to provide enjoyable escapism for the whole family on the dark, cold December nights. Here is a list of particularly interesting TV programmes and films airing during the last fortnight of 2016, all of which are based on, or inspired by, fairy tales, mythology and classic children's stories. In order to make this list easier to put together, I am only including films and TV programmes on Britain's five terrestrial channels - BBC1, BBC2, ITV, Channel 4 and Channel 5.

Television

Paul O' Grady's Favourite Fairy Tales

When's It On? - Tuesday 20th December at 9PM (ITV1)

TV presenter Paul O'Grady, currently playing the Wicked Stepmother in the London Palladium's Christmas pantomime version of Cinderella, presents this documentary about the Brothers Grimm. In it, he looks at the German locations which inspired classic fairy tales such as Rapunzel and Snow White, and how these stories have evolved throughout the centuries. This documentary seems like it will be entertaining viewing for families and fairy tale enthusiasts, even if you are familiar with the insights which O'Grady offers.

Dancing The Nutcracker: Inside the Royal Ballet

When's It On? - Christmas Day at 4:00PM (BBC2)

The Royal Ballet's version of The Nutcracker, being performed to mark the 90th birthday of famed choreographer Peter Wright, is on at the Royal Opera House until January. In order to co-incide with its run, the Royal Ballet has provided a rare opportunity for TV audiences to see what life is like behind the scenes, as the company prepares for the production. Across three months of rehearsals, we get to see the cast, which ranges from 11 year-old pupils at the Royal Ballet School, to the woman playing the Sugar Plum Fairy herself, practise for their roles. We also get to see the technical crew in action, as the special effects are brought to life. If you are interested in seeing how an iconic ballet is made, or want an intelligent documentary to contrast with the usual Christmas Day entertainment, then then Dancing The Nutcracker: Inside The Royal Ballet is a must-see.

The Nation's Favourite Disney Songs

When's It On? - Boxing Day at 1:40PM (ITV)

This special was aired last year, but is being repeated during Boxing Day. If you haven't seen it already, The Nation's Favourite Disney Songs provides a countdown of the Top 10 Disney songs (according to a poll conducted by ITV), including classic tunes from iconic Disney films such as The Lion King, Frozen and The Jungle Book. The magician and TV presenter Stephen Mulhern narrates, as a number of celebrities, including McFly member Harry Judd and Strictly Come Dancing judge Arlene Phillips, talk about why they love the songs on the countdown, with their children often providing additional praise.  In addition, a number of people involved in the production of the Disney films mentioned, ranging from Mary Poppins star Jane Dotrice to Aladdin songwriter Sir Tim Rice, provide insight into what it was like to work on a Disney film and hear the classic songs being brought to life. This countdown provides a strong list of  Disney songs, and even if you don't agree with it ("Classic" films from Walt Disney's lifetime are a little too dominant) it is interesting to see fans and experts talk about why these tunes are so appealing.

Revolting Rhymes 

When's It On? - Boxing Day and Tuesday 27th December at 6:30PM (BBC1)

Roald Dahl's 1982 book Revolting Rhymes contained six poems which provided twisted and irreverent takes on classic fairy tales. In this two-part animated series, we get adaptations of five of these poems, with "Goldilocks and the Three Bears" being the only one not to be included.

The first episode depicts the friendship between Snow White and Little Red Riding Hood, as the former helps the Seven Dwarves make a fortune through gambling on horse racing, and the latter makes a living by hunting wolves. Meanwhile, the second episode combines the stories of Cinderella and Jack and the Beanstalk, with Cinderella finding out that her Prince Charming is not as nice as he appears, and Jack learning that the only way to get a happy ending is to improve his personal hygiene. A number of British actors, including David Walliams, Rob Brydon and Dominic West, voice multiple roles in both specials. Revolting Rhymes promise to be perfect fun for fans of Roald Dahl, and it seems like it will capture the hilarious tone of the source material.

Peter Pan Goes Wrong

When's It On? - New Year's Eve at 6:20PM (BBC1)

Mischief Theatre have become the one of the biggest names in West End theatre due to farces such as The Play That Goes Wrong and The Comedy About A Bank Robbery. They have become so popular that their Christmas play Peter Pan Goes Wrong will be their first work to air on TV.

Peter Pan Goes Wrong, currently being performed at London's Apollo Theatre, tells the story of an ameteur dramatics society whose Christmas play (a version of Peter Pan) does not go to plan. Though this television adaptation will probably be heavily abridged to fit a one-hour time slot, it will also feature many of the play's most memorable moments as the cast argue and the special effects malfunction. The chaos will be highlighted by narration from Poirot star David Suchet. This looks like it will be great fun for those seeking to end the year by watching an amusing comedy.

Films

Hercules (2014)

When's It On? - Sunday 18th December at 9PM (Channel 5)

The myths about the Greek demigod Hercules have always been popular due to his sheer strength and power. Most films about him have taken his heroism for granted, but this 2014 movie, based on the graphic novel Hercules: The Thracian Wars, provides a revisionist interpretation. In it, Hercules is portrayed as a mercenary who has exaggerated the stories of his "Twelve Labours" in order to improve his reputation. However, it doesn't take long before he has to demonstrate that he's worthy of his heroic status. Dwayne Johnson is the ideal choice to play Hercules, and he is joined by a fine supporting cast, including John Hurt and Ian McShane. This take on Hercules is aimed primarily at teenagers and older males, but it's great fun for anyone who's into the sword and sandal genre.

Puss In Boots (2011)

When's It On? - Wednesday 21st December at 1;45PM (BBC1)

One of the best characters in the Shrek franchise was Puss in Boots, a Zorro-inspired take on the fairy tale feline. In this spin-off, we get a story from Puss in Boots' past, as he teams up with his old friend Humpty Dumpty in order to steal the Golden Goose. Antonio Banderas, Salma Hayek and Zach Galifianakis lead the voice cast for a tale which provides a comedic spin on swashbuckling adventure stories, but does not rely on pop culture references as much as the four Shrek films which preceded it.

Saving Mr. Banks (2013)

When's It On? - Friday 23rd December at 8:30PM (BBC2)

Mary Poppins is one of Disney's best-loved movies, and it's become so iconic that there is even a film about how it was made. Saving Mr. Banks tells the story of how Walt Disney persuaded P.L. Travers, author of the Mary Poppins books, to hand over the rights to her property. Walt Disney is played by Hollywood icon Tom Hanks, with Emma Thompson as Travers. Although the movie sanitizes a lot of aspects of this real-life story (such as Travers' opposition to the finished product) it is still an interesting look at the work which goes into making a children's classic.

Hans Christian Andersen (1952)

When's It On? - Christmas Eve at 8:10AM (BBC2)

Hans Christian Andersen is not a conventional biopic about the legendary fairy tale author, but instead, it is "a fairy tale about the great spinner of fairy tales". Though purists may be annoyed by the lack of historical accuracy, the great Danny Kaye plays Andersen, and the movie contains a number of songs, including "Wonderful Copenhagen", "Inchworm" and "The Ugly Duckling", which still hold up today. It is certainly worth getting up early in the morning to see this.

Jason & The Argonauts (1963)

When's It On? - Christmas Eve at 3:10PM (Channel 5)

Jason & The Argonauts is based on the Greek myths about Jason, who found the magical Golden Fleece. It tells the story of Jason's quest, as he is assisted by figures such as Hercules and Hera. This film is famed for its special effects, created by Ray Harryhausen, as Jason battles an army of skeletons, a Hydra, and a 100-foot tall giant. The 50's and 60's saw a number of sword-and-sandal films, many of which based on Greek mythology, and Jason & The Argonauts is one of the best movies in that genre.

The Wizard of Oz (1939)

When's It On? - Christmas Day at 2:10PM (Channel 5)

L. Frank Baum wrote The Wizard of Oz in 1900 in order to provide an American equivalent to classic European fairy tales, and the iconic status of the 1939 adaptation of this book highlights just how successful his endeavour was. The Wizard of Oz airs every in Britain every Christmas, and also appears on TV during the Bank Holidays, but it still feels fresh. It's hard to believe that the film is almost 80 years old, but songs such as "Somewhere over the Rainbow" are classics and characters such as Dorothy and the Tin Man remain appealing even today. The film is also notable for being one of the first to use technicolour, and the transition from the black-and-white world of Kansas to the colourful land of Oz is still a wonderful moment.

Frozen (2013) and The Lion King (1994)

When's It On? - Christmas Day at 3:10PM (BBC1 and ITV)

Christmas is an excellent time to watch a Disney film, as families want familiar entertainment which they can enjoy together. BBC1 and ITV aim to exploit this with a "Disney Duel" on Christmas Day, as Disney's two biggest animated films will be aired opposite each other.

BBC1 is airing Frozen, which is appearing on terrestrial TV for the first time. By now, the adventures of Anna and Elsa need no further introduction, but children (and even many parents) will gladly seize an opportunity to see Elsa sing "Let It Go" once more. Meanwhile, ITV is airing The Lion King, another film whose songs and characters are also incredibly familiar. Both films are worth revisiting time and again, so it will be incredibly hard to choose which one to see on Christmas Day.

Brave (2012) and Sleeping Beauty (1957)

When's It On? - Boxing Day at 2:40PM (BBC1 and ITV)

The second "Disney Duel" between BBC1 and ITV involves two films which are not as iconic as Frozen or The Lion King, but are still fun to watch. Brave, from the Disney-owned animation studio Pixar, is set in the picturesque Scottish highlands, and tells the story of the impulsive Princess Merida and her relationship with her mother Elinor.  Meanwhile, Sleeping Beauty provides an adaptation of the classic fairytale inspired by Tchaikovsky's ballet. It is most notable for its iconic villain Maleficent, the sort of wonderfully diabolical baddie which Disney don't provide anymore.

The Chronicles of Narnia:The Lion, The Witch and The Wardrobe (2005)

When's It On? - Boxing Day at 4:10PM (Channel 4)

C.S. Lewis' classic tale is notable for its blend of epic fantasy and Christian allegory, and this is mostly preserved in this adaptation, which tells the story of four children who discover a fantasy world hidden inside a wardrobe and have to protect it from the evil White Witch. The Lion, The Witch and The Wardrobe has a strong cast headed by Tilda Swinton (who plays the White Witch) and Liam Neeson (who voices the Christ-like lion Aslan), and the appealing story and spectacular battles are enjoyable to watch. In addition, Father Christmas has a cameo, further cementing this movie's status as ideal seasonal fare.

Peter Pan (2003)

When's It On? - Thursday 29th December at 1:15PM (ITV)

There have been a number of adaptations of Peter Pan, and whilst the 1953 Disney version is the best-known, this 2003 adaptation from P.J Hogan is worth checking out. The movie stars Jeremy Sumpter as Peter Pan and Rachel Hurd-Wood as Wendy, with Jason Isaacs chewing the scenery as Captain Hook. This version of Peter Pan is darker than most adaptations, and deals with more mature themes (especially in its depiction of Peter and Wendy's relationship), but it's still suitable for the whole family, and has no shortage of enjoyable action sequences.

Moana - Review

Who Made Moana?

Moana is Disney's 56th animated movie. It is directed by Ron Clements and John Musker, with Don Hall and Chris Williams as co-directors. Jared Bush receives sole credit for writing the screenplay, but seven people are credited with creating the story, including the four directors. Taika Waititi, who wrote the first draft of the screenplay, is not credited. but according to those involved in the production of Moana, he had quite a bit of influence on the finished film. 

What’s It About?

Moana tells the story of Moana (voiced by Auli'i Cravalho), the daughter of Tui (voiced by Temuera Morrison), chieftain of Motunui Island, and his wife Sita (voiced by Nicole Scherzinger). Moana is being trained to take up her future role as leader of the island, but she feels an uncontrollable desire to explore the sea, which is encouraged by her grandmother, Gramma Tala (voiced by Rachael House). However, exploration of the sea is now no longer practised, due to an incident from a thousand years ago, when the demigod Maui (voiced by Dwayne Johnson), stole the gemstone which was the heart of the living island Te Fiti. His actions inadvertently unleashed the Lava monster Te Ka, as well as a blight which is beginning to spread across the Ocean. When this darkness finally encroaches upon Motunui and leads to food shortages, Moana takes a boat and sets sail in order to find Maui and get him to restore Te Fiti’s heart to its proper place. On their voyage, the duo encounter a tribe of diminutive imps called Kakamora, and Tamatoa, a giant crab who steals shiny objects, before finally coming up against Te Ka itself.

My Review

2016 has been a brilliant year for Disney. Zootropolis, The Jungle Book and Finding Dory have been major critical and commercial successes, and due to their ownership of Marvel Studios, Disney have completely dominated the list of the year’s highest-grossing movies. In order to meet the standard set by these movies, Moana had to be excellent. Fortunately, it provides viewers with the memorable characters, colourful animation and catchy songs needed for another Disney hit.

The first thing to note about Moana is that the animation is excellent – it’s really, really colourful. The vast expanses of water are depicted in great detail, and scenes where the ocean comes to life to assist Moana are fun to watch. The other locations, such as Moana’s island and the Underworld where Tamatoa lives (which is full of luminous ultraviolet monsters), are also animated very vividly. Meanwhile, the action sequences, including Moana’s initial attempt to sail beyond the reef, and her battle with the Kakamora, are fast-moving and exciting. However, the most impressive animation is used for Maui. His ability to shapeshift lends itself to a number of memorable visuals, as he changes into a wide range of creatures, including a bird, a beetle, and (for one brief but amusing moment) a reindeer. Maui’s tattoos are animated in traditional hand-drawn style, with a tattoo of himself (Mini-Maui) providing the role of his conscience, and getting some amusing moments. You can really see how much effort the animators put into the movie, and this makes it impressive, even by the higher standards of CGI animation.

The best character in Moana is easily the titular protagonist. Torn between her sense of duty to her island and her burning desire to explore the seas, she eventually finds a way to combine both of these seemingly conflicting aims. Moana can be funny, angry, kind, vulnerable and sensitive, and feels like a realistic and relatable character, keeping up Disney’s tradition of strong female leads. Another great character is Gramma Tala, the self-proclaimed “village crazy lady”, who tells Moana about her ancestor’s illustrious past. This is probably the first time that a grandmother-granddaughter relationship has been so important to a Disney film, and the bond between Moana and Gramma Tala provides the movie with many of its most powerful scenes. The other notable character is Maui. Given the reverence with which the demigod is viewed by many people, Disney were under a lot of pressure to do the character justice. There are some instances, especially early on, where he is a little too unpleasant to Moana, but he becomes more likeable when we learn more about his past and why he stole the heart of Te Fiti. In addition, Maui is often very funny. He gets many of the self-referential lines which have featured in Disney’s recent hits (for example, “If you start singing, I’m gonna throw up!”) and even manages to point out a couple of plot holes (Why did the ocean choose Moana?). However, for all these updates, Maui is still pretty close to the character from the myths. It is entirely plausible that his heroic deeds would make him become arrogant, and when Maui overcomes his flaws and unleashes the full power of his signature fish-hook, it’s genuinely awesome. Much of the second half of Moana features Moana and Maui on a boat together, but there’s nothing romantic about this relationship. Instead, it is more like the dynamic between a teacher and a student, as Maui teaches Moana the art of wayfaring, and Moana helps the demigod regain his former greatness. Though there are some amusing side characters (such as Moana’s dim-witted pet chicken Hei-Hei, who swallows rocks and ends up on her boat by accident), Moana, Maui and Gramma Tala are the three standouts, and they elevate the movie.

Much has been made of the fact that Moana features a cast consisting almost entirely of Polynesian voice actors (with the notable exception of Alan Tudyk, who provides Hei-Hei’s clucks and screams, and also voices a minor un-named Islander), and they all succeed in bringing their characters to life. As Moana, Auli'i Cravalho pretty much has to carry the entire film on her shoulders. With the exception of a couple of sillier moments, she resoundingly succeeds in this task – it’s almost impossible to believe that this is the first movie she’s ever starred in. Dwayne Johnson has no trouble showing off Maui’s confidence and energy, but also succeeds in highlighting his vulnerability later on. Rachel House is full of warmth and feistiness as Gramma Tala. Temuera Morrison, who voices Tui, is a convincing leader, whilst Nicole Scherzinger’s acting as Sita is solid enough for her presence not to be too much of a distraction. It is also worth mentioning Jemaine Clement, who is really funny as Tamatoa, but also gets a couple of more menacing moments when his character belittles Moana and Maui. It’s evident that the cast was chosen for their talent as well as their ethnicity.

The high level of authenticity in the casting extends to the depiction of Pacific Islander culture. In the scenes showing daily life in Motunui, we see a number of traditional Polynesian customs, such as the weaving of baskets and the creation of a full-body Pe’a tattoo. We also see how Moana manages many of the problems facing her island, such as the dying coconuts and fish shortages. As well as being interesting to watch, this develops the story – It’s rare for a Disney film to give us this much insight into what it’s like to be a ruler. The extra realism this adds makes the characters more developed and the storyline more engaging.

The movie has about eight songs (not including reprises), and they are all great. They probably won’t achieve the chart success of “Let it Go” or “Try Everything” (they’re too closely linked to the movie and its characters to have the near-universal appeal of those songs), but Lin-Manuel Miranda and Opetaia Foa‘I have managed to provide music which is right up there with the songs from the Disney Renaissance.  Among the memorable tunes in Moana are “We Know The Way”, which blends English lyrics with lines in Tokelauan language (Tokelauan is a rare South Pacific dialect used in much of Opetaia Foa‘I’s previous music) to tell the story of Moana’s ancestors, and Tamatoa’s song “Shiny”, a villain song reminiscent of Jemaine Clement’s past work in Flight of the Conchords.  However, the movie’s two strongest songs are Moana’s song “How Far I’ll Go”, and Maui’s song “You’re Welcome”. Like all the best musical theatre songs, “How Far I’ll Go” does an excellent job of conveying how Moana feels about her desires and insecurities. It seems like a difficult song to sing, but Auli'i Cravalho does an excellent job of conveying her character’s emotions. Meanwhile, “You’re Welcome” is a Big-Band song which shares some DNA with “Friend Like Me”, but it has a unique identity of its own, as Maui boasts about all his heroic deeds from Polynesian mythology (slowing down the sun to make the day longer, raising islands from the sea, etc…). Dwayne Johnson is a surprisingly strong singer, and the song really plays to his sense of showmanship.

Probably the main weakness with Moana is the lack of a central villain. Like Pinocchio (which was released 76 years ago), Moana has an episodic structure, with Moana and Maui meeting an enemy, escaping from them, and moving on. The three antagonists the duo face are all very interesting, which makes it a shame that they don’t get enough screen time. Of these characters, Tamatoa, an egocentric kleptomaniac crab who dwarfs even Maui, is easily the best, which makes it a shame that he doesn’t appear for very long. Te Ka, the Monstro to Moana’s Pinocchio, is intimidating, but doesn’t do much apart from throwing balls of fire at our protagonists, and the reveal of its true identity could have been a bit more powerful. However, the villains are not the only characters who should have appeared more. Tui is a well-developed character, and has a very good reason not to want Moana to sail beyond the reef (When he was younger, his friend drowned after a sailing expedition went wrong), but he vanishes from the story after Moana leaves her island. It’s understandable that Clements and Musker did not want Tui to be another King Triton-type overprotective father, but it’s a bit annoying that we don’t really see him react to Moana’s disappearance.

However, these weaknesses are relatively minor in comparison to the movie’s positives. For all of Moana’s flaws, it is an upbeat movie with the three things which matter most when creating a Disney movie: great songs, great animation and great characters. By delivering these, Moana marks itself out as an excellent addition to the Disney Animated Canon.

P.S -  If you stay in your seat during the end credits, you'll see a final scene with Tamatoa, where he gets a particularly funny line referring to another crab from a different Disney movie. Moments like this are why he should have been given a much larger role.

Verdict

Overall, Moana is another great animated movie from Disney, continuing the winning streak which began with Tangled in 2010. The story can be predictable at times, but this doesn’t really matter when the movie provides such enjoyable escapism. The songs are all worth listening to again and again, and the animation is wonderful to look at. It’s also clear that the filmmakers love the Polynesian culture which they are depicting, and the movie succeeds in providing an appealing introduction to Polynesian myths, customs and values. In addition, there are some great characters, and plenty of funny moments, with enough sad and intense scenes to give the film a bit of an edge as well. To conclude, Moana is definitely worth seeing, and deserves a place alongside the past Disney classics.

If You Liked This, See:

The Little Mermaid – Out of all Clements and Musker’s previous Disney films, Moana has the most in common with The Little Mermaid, due to the prominence of the ocean and the basic “follow your dreams” storyline. Although Moana is probably the more sophisticated of the two movies, The Little Mermaid’s songs, animation and characters still hold up today.

True Grit – Clements and Musker have often cited this classic 1969 John Wayne Western as an influence on their movie. This is because the relationship between Moana and Maui is similar to the dynamic between teenager Mattie Ross and washed-up lawman Rooster Cogburn, as Mattie persuades Rooster to bring her father’s killers to justice. If you are into Westerns, True Grit is essential viewing, as is the 2010 remake directed by the Coen Brothers.

Whale Rider – This 2003 film from New Zealand centres around a girl named Pai who wants to prove to her grandfather that she can be a future chieftain of a Maori tribe. Though it shares several themes with Moana, it takes a much more realistic approach, highlighted by its modern-day setting. It is also worth noting that Whale Rider features Gramma Tala herself, Rachel House, in a supporting role.

                                                                                     

15 Plays and Pantomimes to see in London this Christmas

As the Christmas season draws nearer, a number of plays and pantomimes aim to provide family-friendly entertainment . Many of these are adapted from, or inspired by, fairy tales and other classic stories.  This is because these tales are familiar enough to appeal to both adults and children, and provide the escapism which is essential during the cold winter nights. 

Listed below are 15 plays and pantomimes which will be performed in London theatres throughout the month of December. 

Aladdin (Lyric Hammersmith)

(Ends 7th January)

Pantomimes are a major Christmas tradition in Britain. These comedic retellings of classic stories make heavy use of comedy, music, topical references and audience interactions, and have been popular for centuries, assuming their present form during the Victorian era. This year, there are several major pantomimes in the London suburbs alone.

One of these is the version of Aladdin which is being performed at the Lyric Hammersmith. The story is familiar but appealing, as Aladdin, from the poor borough of FulHammerBoosh, falls for Jasmine, the daughter of Emperor One Per Cent. James Doherty plays the classic pantomime dame Widow Twankey (once played on stage by Sir Ian McKellen) and Vikki Stone plays the evil sorcerer, Abanazer. There are numerous references to the political issues which have defined 2016 (such as Brexit), and plenty of the manic energy which defines the pantomime genre. Overall, this version of Aladdin promises to blend its traditional source material with a modern and subversive edge..

Baddies: The Musical (Unicorn Theatre)

(Ends 31st December)

It's widely accepted that villains tend to be the most interesting characters in fairy tales and Disney films, as their uninhibited, flamboyant nature provides an entertaining contrast to the overly idealised protagonists. The important role of villains in making a fairy tale stand out is highlighted in Baddies: The Musical. This tells the story of what happens when The Big Bad Wolf, The Ugly Stepsisters, Captain Hook and Rumpelstiltskin are sent to jail for their scheming ways.

Since Wicked premiered in the West End in 2006, there has been an increasing demand for versions of fairy tales centered around the villains, with the film Maleficent and the TV movie Descendants both enjoying significant success. Baddies: The Musical looks like another creative addition to this growing sub-genre, combining interesting observations about why every fairy tale needs a great villain with plenty of music and comedy. 

Cinderella (London Palladium)

(Runs 10th December - 15th January)

At the end of the 19th century, Pantomimes were so popular that the biggest theatres in the West End would put one on during the Christmas season. The tradition of the West End Pantomime is being revived at the London Palladium, which is putting on a version of Cinderella.

Many pantomimes rely on a few celebrity cast members to attract older audiences, but  this production has a particularly star-studded line-up, including Britain's Got Talent judge Amanda Holden (playing The Fairy Godmother), TV Presenter Paul O'Grady (in drag as the Wicked Stepmother), and ventriloquist Paul Zerdin (in the role of Cinderella's friend Buttons). It seems like a larger venue will encourage increased spectacle, colour and audience interaction, and the London Palladium version of Cinderella certainly looks able to take advantage of this. 

Dick Whittington (New Wimbledon Theatre) 

(Runs 9th December-15th January)

Dick Whittington is a British folk story based on a notable historical figure. In real life, Dick Whittington was a merchant in the late 14th and early 15th centuries, who became Mayor of London three times. His influence and wealth inspired a legend telling the story of how Dick gained his fortune through his tenacity, hard work, and the rat-catching abilities of his cat. 

The pantomime based on the Dick Whittington legend has been performed since the 19th century, and there are several versions being performed in and around London this year. Probably the most notable of these is the one being staged at the New Wimbledon Theatre. The New Wimbledon Theatre version of Dick Whittington features Strictly Come Dancing judge Arlene Phillips as Dick's fairy godmother, Fairy Bowbells, with actor and TV presenter Matthew Kelly and comedian Tim Vine playing side characters. The popularity of Dick Whittington as a pantomime subject is testament to the genre's status as a primarily British form of theatre.

The Little Match Girl & Other Happier Tales (Sam Wanamaker Playhouse) 

(Ends 22nd January)

The Little Match Girl is based on the Hans Christian Andersen story about a girl freezing to death on the streets during New Years Eve. In spite of the miserable subject matter, Andersen's signature beautiful writing has made it into a very popular Christmas story. As the source material is too short for a 100-minute play, director Emma Rice and writer Joel Horwood have decided to add other fairy tales to get the play to full-length, using The Little Match Girl as a frame story.

The "Happier Tales" which are incorporated into the storyline are three of Andersen's best-loved tales - The Emperor's New Clothes, The Princess and the Pea, and Thumbelina. In addition, Ole Shuteye, a character from a fairy tale Andersen wrote in 1842, is used as a narrator. The play is darker than most Christmas theatre (It's recommended for ages 9 and over), but it looks like it has the creativity and imagination needed to be essential family viewing. 

The Mad Hatter's Tea Party (Roundhouse)

(Runs 30th December - 22nd January)

This take on Alice in Wonderland comes from ZooNation, a troupe blending Hip-Hop dance and theatre. The artistic director, Katy Prince, has teamed up with Josh Cohen and DJ Walde to provide a unique spin on the tale set in a lunatic asylum. In The Mad Hatter's Tea Party, a psychiatrist called Ernest comes to investigate the inhabitants of the Institution for Extremely Normal Behaviour, all of whom claim that they are from Wonderland. He attempts to investigate their eccentricities, but soon finds himself realising that "all the best people are bonkers". 

The Mad Hatter's Tea Party features unconventional takes of the classic characters from the source material, including the White Rabbit, the Cheshire Cat, and Alice herself. All of them get incredible dance sequences which show off their energy and agility. There are also plenty of songs, and the score incorporates a wide range of musical styles. With its bright, exuberant approach, The Mad Hatters Tea Party is going to capture the uninhibited insanity of Lewis Carroll's classic tale. 

The Nutcracker - English National Ballet (London Coliseum) 

(Runs 14th December- 17th January)

Adapted from E. T.A Hoffmann's 1816 story The Nutcracker and the Mouse King, the classic Christmas ballet The Nutcracker first premiered in Russia in 1892. Famed for Tchaikovsky's score, it has become so iconic that there are not one, but two versions of it being performed in London this year.

The English National Ballet's version of The Nutcracker sets the tale in Edwardian London. However, the basic story, about Clara and the Nutcracker Doll which comes to life on Christmas Eve and takes her on a wonderful journey, remains unchanged. Last year, a total of 73,000 people went to see the English National Ballet version of The Nutcracker, and it will probably be just as popular this year.  

The Nutcracker - The Royal Ballet (Royal Opera House)

(Ends 12th January)

The second major version of The Nutcracker in London this Christmas is from the Royal Ballet. It is a revival of the classic 1984 version by the famed choreographer Peter Wright, and the ballet is returning to the Royal Opera House to celebrate his 90th birthday.

Wright's version of The Nutcracker is renowned for its attempts to be as faithful to the original 1892 production as possible. The choreography aims to replicate the work of the ballet's original choreographer, Lev Ivanov, and the sets, designed by Julia Trevelyan Oman, are inspired by Christmas images from the first half of the 19th century. The Royal Ballet's version of The Nutcracker looks like a beautiful, charming production which even those who aren't interested in ballet will enjoy. 

Peter Pan (National Theatre)

(Ends 4th February)

The story of Peter Pan began life as a play which premiered in Christmas 1904. Therefore, it can be said that this production is trying to return the classic tale to its roots. It is directed by Sally Cookson, and arrives in London after a successful run in Bristol in 2012. 

Cookson's version of Peter Pan uses a number of creative special effects, with visible wires giving the flying sequences an old-fashioned feel, and a gigantic pirate ship appearing on stage. One of the most unique features of the production is the fact that Peter's arch-enemy, Captain Hook, is now played by a woman (Anna Francolini). The coming-of-age themes which have made Peter Pan such a classic tale are central to this version, which seems like a beautiful and faithful retelling of J.M. Barrie's story.

Potted Panto (Garrick Theatre)

(Runs 10th December - 15th January)

Children's TV stars Dan and Jeff are well-known amongst theatre fans for shows such as Potted Potter and Potted Sherlock, which condense a large number of stories into a single short comedic play. For Potted Panto, the duo turn their attention to pantomime.

In Potted Panto, Cinderella, Dick Whittington, Aladdin, Snow White and Sleeping Beauty being just five of the seven classic pantomimes given an farcical comedic spin in the 80-minute runtime. This requires Dan and Jeff to play a wide variety of characters, although it seems that playing all Seven Dwarves at once is too difficult for even them. This play will be great fun for those who enjoyed Dan and Jeff's previous work, and it promises to provide a unique spin on the famous stories which are being depicted.   

The Red Shoes (Sadler's Wells)

(Runs 6th December - 29th January)

The Red Shoes is an adaptation of the classic 1948 film directed by Michael Powell and Emric Pressburger. It tells the story of Victoria, a ballerina who is playing the lead role in a ballet based on Hans Christian Andersen's fairy tale The Red Shoes. Like the protagonist in the fairy tale, Victoria finds herself compelled to dance, which causes her to lose her sanity.   

This version of The Red Shoes is directed and choreographed by Matthew Bourne, famous for his 1995 version of Swan Lake. Ashley Shaw portrays the ill-fated Victoria. The play will incorporate many iconic elements from the original movie, such as Bernard Herrmann's classic score. If you're a ballet fan who wants to see something a little different this Christmas, then The Red Shoes is worth checking out. 

Sleeping Beauty (Hackney Empire)

(Ends 8th January)

There are two high-profile versions of Sleeping Beauty being performed in London this Christmas. One of these is a pantomime, which is being performed at the Hackney Empire. The annual pantomimes at Hackney Empire, written and directed by Susie McKenna since 1998, are known for their modern and energetic approach, and it seems like their version of Sleeping Beauty is preserving this.

This pantomime is notable for two reasons. First of all,, like the Lyric Hammersmith version of Aladdin, it makes substantial use of political and cultural references, alluding to subject matter ranging from Brexit and the NHS to The Great British Bake Off and Hamilton. Secondly, it subverts one of the major problems with the source material, by making the normally passive title character into a strong protagonist with no shortage of personality. Pantomimes are often seen as very old-fashioned, but the Hackney Empire version of Sleeping Beauty is perfectly suited to the contemporary tastes. 

Sleeping Beauty (Royal Opera House)

(Runs 21st December - 14th March)

70 years ago, the classic ballet Sleeping Beauty was performed by the Royal Ballet for the first time. To mark the anniversary, it is returning to the Royal Opera House, exactly a decade after the previous notable revival. The duo who produced the 2006 version, Monica Mason and Christopher Newton, are also producing this adaptation.

We all know the story of Sleeping Beauty, and the ballet's score (provided by Tchaikovsky) is instantly recognisable (Disney incorporated many of the pieces from it into their 1957 adaptation of the fairy tale). Though Sleeping Beauty is a very long ballet (It's about 3 hours in length, including intervals), the beautiful choreography and music mean that it will provide an enchanting night out.

The Snowman (Peacock Theatre)

(Ends 1st January)

Raymond Briggs' 1979 graphic novel  The Snowman is not based on a fairy tale, and its too recent to be considered a "classic" story, but the animated adaptation from 1982 has become so synonymous with Christmas in Britain that I could not resist mentioning it in this article. A theatrical adaptation has been performed at the Peacock Theatre every Christmas since 1997.

The Snowman is always a classic story, due to its wonderful visuals and bittersweet subject matter, and the theatrical adaptation provides some wonderful spectacle. If you want to see iconic moments from the film, such as the  "Walking in the Air" sequence, brought to life in a new way, then you should definitely see this play.