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.

How Will John Lasseter’s Downfall Affect Disney?

In the past year, almost every walk of life has been affected by revelations of sexual misconduct and exploitation, with numerous prominent figures having been accused of a wide range of awful actions. One of the most devastating scandals to occur during this time has been the set of revelations about the sordid and sleazy behaviour of John Lasseter, the chief creative officer at Walt Disney Animation Studios (AKA Disney Animation) and Pixar. There is no underestimating Lasseter’s impact on animation (and American cinema as a whole) since he co-founded Pixar in 1984, becoming its chief creative officer. The studio have become one of the most acclaimed and successful creative forces in Hollywood, with eight of their films winning Best Animated Film at the Oscars and two (Up and Toy Story 3) even competing in the Best Film category. In 2006, Lasseter also become chief creative officer at Disney Animation and spearheaded the 'Disney Revival’ by producing films like Frozen and Moana. However, this glittering career has ended in total disgrace, as the damage caused by Lasseter’s misbehaviour and the outrage it generated meant that dismissing him was the only acceptable option.

John Lasseter’s downfall has significantly tarnished the Disney brand, and the company will need to change their internal culture without disrupting the constant stream of animated classics which have made them so powerful and influential. Earlier today, Disney announced Lasseter’s two replacements. Pete Docter, the director of Up and Inside Out, will become Pixar’s chief creative officer, whilst Jennifer Lee, the writer and co-director of Frozen, will take over at Disney. Both are under enormous pressure to continue providing hits whilst allowing their studios to move forward in new directions…

The Lasseter Scandal – A Brief Outline

During the autumn of 2017, the #MeToo campaign led to the exposure of predators and perverts who had occupied powerful positions in almost every major industry. Abuses of power at other animation studios had already came to light, so it was only a matter of time before Disney became implicated in a major sexual harassment scandal as well. Lasseter’s misconduct was revealed towards the end of November, after a memo he circulated to Disney Animation and Pixar employees was leaked to the press. In this document, Lasseter admitted to a range of ‘missteps’, including ‘unwanted hugs’, and announced he was taking a six-month sabbatical to reflect on his conduct. As soon as the statement was published, insiders quickly came forward with stories of Lasseter groping female staff members during meetings and parties. These were followed by revelations that he had committed further invasions of privacy, including forcibly kissing female subordinates and harassing models who worked for the Disney Fairies product line. In addition, Lasseter was revealed to be an alcoholic, drinking heavily during a variety of important events. He was also accused of mistreating critics and perceived rivals at Disney and Pixar, and even falsely taking credit for the ideas of others.

In retrospect, it was probably inevitable that Lasseter, who was widely known for his uninhibited personality (he was once filmed hugging 48 people in a single day) would frequently cross the line into inappropriate and offensive behaviour. However, the revelations were still devastating for Disney Animation and Pixar’s numerous fans, as the seemingly affable and enthusiastic face of these iconic studios was exposed as a lecherous bully. The revelations also reflected badly on Disney as a whole, as it was revealed that they had hired ‘minders’ to keep Lasseter in check during events but had not taken any real action to stop him. Furthermore, a ‘Day of Listening’ aimed at addressing discontent with Lasseter’s behaviour at Pixar had been held in 2011, but failed to generate any change.

During the six months after Lasseter announced his sabbatical, Disney kept discussion of the case to a minimum, possibly in the hope that the scandal would die down. However, it proved impossible to suppress the bad publicity affecting the company. In May, as concern grew that other wrongdoers exposed around the same time as Lasseter would return to their former power, an article from Wall Street Journal implied that Lasseter could regain his status as creative head, albeit with reduced managerial powers. This misguided proposal attracted considerable condemnation, and protests against Lasseter’s actions gained new potency. A #LoseLasseter hashtag was shared across social media, with numerous workers at Disney promoting petitions opposing his return. These probably convinced the heads of Disney that it was no longer possible for Lasseter to stay at the studio. Earlier this month, Disney announced that Lasseter would leave Disney Animation and Pixar for good on December 31^st 2018, spending the period until then demoted to a consulting role. Bob Iger, president of the Walt Disney Company, issued a sanitised statement in which he praised Lasseter’s success at Pixar and Disney Animation, and expressed optimism about the future of the two studios. Lasseter also issued a statement where he claimed that the end of 2018 was the right time to leave and “begin focusing on new creative challenges”. In true Disney fashion, the upbeat statements concealed an unpleasant and seedy reality, but the unspoken implications were clear – the outrage at Lasseter’s misconduct had led to him going into an early retirement.

It goes without saying that there are numerous problems with the final settlement. Lasseter’s ‘Creative Consultant’ role is essentially the proposed ‘creative lead’ role used as a temporary, stop-gap measure. The six-month transition period is too long, and there is little clarity over how he will contribute to the company during this time (he will not even have an office at their studios). The highlights the fact that Disney’s response has been focused on trying to find compromises in a situation where this brand of diplomacy feels extremely inadequate. One explanation for this is Iger’s fear that a tougher response could cause Lasseter to become a major rival to Disney. This situation is not without precedent (Jeffrey Katzenberg, Disney’s Head of Production during their early 1990’s ‘Renaissance’, was fired in 1994 and responded by establishing the rival Dreamworks studio) but it feels insensitive to promote the prospect that Lasseter will find a way to remain a major power in the animation industry, given that so many people are disgusted by his conduct. Disney’s failure to deal quickly or decisively with Lasseter has made the company seem weak and uncaring in the face of the demands for change generated by #MeToo and the subsequent #TimesUp movement.  Nonetheless, the fact that he has finally been held to account for his awful behaviour is proof that the #MeToo movement can succeed in forcing seismic change.

Disney's Future.                           

Whilst Lasseter’s dismissal is a notable victory for the employees at Disney and the battle for a more diverse and progressive studio, there will be numerous questions over the extent to which a change in leadership will affect the quality of Disney Animation and Pixar’s output. The Incredibles 2 was the first Disney/Pixar film to still be in production when Lasseter went on leave, but the generally positive critical reception indicates that it has survived the behind-the-scenes turmoil. However, there are three more Disney/Pixar sequels deep in production. Wreck It Ralph 2 (AKA Ralph Breaks the Internet), Toy Story 4 and Frozen 2 are under extra pressure to succeed, as their critical and commercial reception will indicate how well Disney Animation and Pixar have adjusted to the changes caused by the scandal. Disney Animation have often struggled without a strong leader, with the death of Walt Disney and the firing of Jeffrey Katzenberg leading to long wilderness periods that left Disney’s animation wing in seriously poor health. If this situation repeats itself again, it could lead to serious questions about their long-term future.

This article has often conflated Disney Animation and Pixar due to Lasseter’s leading role at both studios, but they have very different creative environments, with different key figures. Although Lasseter has been in charge at Pixar for 34 years (compared to his 12 years as Disney Animation’s chief creative officer), they will probably be less affected by his departure, due to the more experienced ‘brain trust’ firmly established there. However, Disney Animation have a far younger and less experienced set of creatives, and this could easily be a major problem. The difference in experience at both studios is made clear when you look at the careers of their new creative chiefs. Pete Docter has been working with Pixar for almost 30 years, and as Vice President of Creativity at Pixar, effectively became Lasseter’s second-in-command there. With his reputation for writing and directing some of Pixar’s best films, and a collaborative leadership style which has made him popular in the animation community, Docter was probably the most obvious choice to take over at Pixar. In contrast, Jennifer Lee has only been part of Disney Animation’s writing team since 2011, and her inexperience has generated both advantages and disadvantages. Frozen became such a successful film because it took chances and subverted traditional Disney tropes in spectacular fashion whilst still providing colourful family-friendly entertainment full of catchy songs. A more experienced director would have provided a safer, more conventional film which would not have captured the imagination of the public in the same way. However, there were problems with Frozen’s story and characterisation, which were placed into sharp focus by the sheer inescapable popularity of the movie. Jennifer Lee is still at a relatively early stage in her career, and needs training and assistance in order to transition from a raw talent to a figure as acclaimed and respected as Pixar’s veteran directors (It is worth noting that Lee’s co-director on Frozen was Chris Buck, who has been with Disney Animation since 1978). Therefore, giving her such an important leadership role so quickly is a tremendous risk.

The presence of a new creative head will hopefully provide some benefits. During the 2010’s, Pixar have often been criticised for their over-reliance on sequels, with Cars 2 receiving a particularly hostile reception. Disney Animation have also been struggling to provide new and original movies, with Gigantic, a new take on Jack and the Beanstalk, getting cancelled in favour of sequels to Wreck It-Ralph and Frozen. There is also a risk that the winning formula used in most recent Disney Animation and Pixar hits is wearing thin. Most of the movies produced under Lasseter’s leadership at both studios have featured stories about an odd couple going on an incredible journey, large helpings of self-deprecating humour, and surprise villains whose true nature is only revealed near the end of the film (the idea of a seemingly friendly and likeable character turning out to be a horrible person feels a lot more uncomfortable in hindsight, for obvious reasons). Although their movies have still generally ranged from being very good to being excellent, there has definitely been some stagnation at both Disney Animation and Pixar in recent years, reminiscent of the overly prosaic approach which caused Disney Animation to fall from grace during the late 1990s. A new creative head could allow the studios to become more innovative and exciting whilst avoiding the failures which defined their previous eras of transition.

Practise What You Preach

Lasseter’s misdemeanours led to increased focus on the diversity issues which have affected Pixar in particular. The studio has been known as a ‘Boys Club’, with their movies excessively focusing on the journeys of male protagonists. Recently, Pixar have sought to move away from its excessively masculine image. Inside Out centred on two female leads, whilst Finding Dory and The Incredibles 2 both upgraded the most prominent female characters from the original movies into the primary protagonists. However, the greater levels of female representation in the films has not done much to change the problematic culture behind the scenes. In 2008, Brenda Chapman was hired to direct Brave, the first Pixar film with a female protagonist. However, she was dismissed from the project in 2011 and replaced with a male director. In a widely circulated article, Chapman complained about the way in which she had continually been ignored and dismissed by the Pixar elite. Unfortunately, the discontent generated by this episode did not result in major change. Rashida Jones and her husband Will McCormick were attached to write Toy Story 4, but withdrew from the project. After rumours that Jones had been harassed by Lasseter, she confirmed that her decision to quit the project was based on frustration with the fact that Pixar did not give women or minority writers an “equal creative voice”. This departure only confirmed the institutional inequalities at Disney and Pixar, and Lasseter’s disrespect towards his female employees is only the most extreme manifestation of this regressive culture.

(Note: Since Rashida Jones quit Toy Story 4, Pixar have made steps in the right direction, hiring Stephany Folsom to replace her on that project and appointing Dommee Shi– director of the acclaimed short Bao – to contribute to the story team set up following Lasseter’s departure. They still have a long way to go, but these changes are highly encouraging)

The need to provide a feminist environment is especially important for Disney Animation, due to their focus on female-orientated output. The films of the Disney Revival era, such The Princess and the Frog, Tangled, Frozen, Zootropolis and Moana, have ensured that Disney Animation’s female protagonists are more popular and important than ever. Characters like Tiana, Rapunzel, Anna, Elsa and Moana enjoy an appeal that goes far beyond the traditional ‘young girl’ demographic associated with Disney Princesses. Men and women of all ages have become increasingly open in expressing their love for Disney Animation’s recent movies, and the protagonists of these have become icons amongst those seeking to fight discrimination and exclusion. Therefore, Disney are under considerable pressure to set a positive example for this expanding audience. This is why the attempts to downplay or excuse Lasseter’s actions by comparing him to more extreme offenders are so misguided, as dismissing workplace harassment demonstrates a complete disrespect towards those affected by it (many of the women mistreated by Lasseter quit working for Disney as a result of his actions), and implies that they should remain subservient. Before they can provide positive, forward-thinking movies, Disney Animation need to provide a positive, forward-thinking workplace for their employees. Therefore, Jennifer Lee is the ideal choice to replace Lasseter. Animation is still dominated by males, so giving Jennifer Lee the opportunity to take over will allow them to lead the way in terms of female representation.

Conclusion

It goes without saying that John Lasseter’s misconduct, and Disney’s failure to deal with it properly, have done considerable damage to the studio and undermined its family-friendly reputation. However, now that he has finally left, we need to start looking to the future, and it is worth being highly optimistic about the evolution of Disney Animation and Pixar. The two studios have never just been about one man, and the numerous talented creatives there should be able to flourish in a more positive and stable environment, without the tension and animosity generated by Lasseter.  I am hopeful that Disney can go on providing appealing and inspirational animated films, and the new generation of writers and directors headed by Docter and Lee will be able to create a new range of animated classics which can be enjoyed for decades to come. 

Frozen: The Musical - Articles and Links (Part Two)

Four weeks ago, Frozen: The Musical, the stage adaptation of Disney's iconic 2013 film Frozen, made its Broadway debut, as previews commenced at the iconic (and newly-renovated) St. James' Theatre. This week, the much-loved story of Anna and Elsa, the royal sisters of Arendelle (played by Patti Murin and Caissie Levy), celebrates its official opening night on Broadway. This represents the culmination of a long and eventful journey- the first readings of the script took place two years ago, and there were numerous changes to the cast and crew before Frozen: The Musical was ready to be shown to theatregoers. There even have been a few substantial changes over the preview period- Elsa has recently been given an impressive new costume to wear during the climax of the production. However, it seems like all the hard work will pay off. Frozen fans have generally been full of praise for the musical, and the preview performances have already earned large amounts of money. It seems like Frozen: The Musical will be another big hit for Disney Theatrical, emulating the success previously enjoyed by their adaptations of Beauty and the Beast, The Lion King and Aladdin.

When the preview period began, this blog provided a post highlighting a variety of fascinating articles about Frozen: The Musical. Here, we will showcase 33 more articles about this new Broadway spectacular, including interviews with the cast and crew, information about the costumes and choreography, and exclusive revelations about the new songs created especially for this production...

(Note: This post contains spoilers, as it assumes that most of us are familiar with the story of Frozen by now. If you aren't, be careful...)

Behind the Scenes

With an estimated budget of up to $50 million, it took plenty of effort to make Frozen: The Musical into a unique and impressive spectacle. The costumes, sets, choreography and music have been edited and refined extensively during the production process, and these articles show that the team behind Frozen: The Musical are working incredibly hard in order to live up to the high standards set by the original film...

A Deep Dive Into the Costumes from Frozen on Broadway - The sets and costumes for Frozen: The Musical were designed by Christopher Oram, who has collaborated with director Michael Grandage on numerous projects over the years. In this interview with Time Out, Oram discusses how he designed the costumes of the main characters, staying true to the look and feel of the film whilst altering the clothes to meet the requirements of a stage musical where actors sing and dance in them up to eight times a week. He also reveals how he was inspired by his visits to Norway and his research into traditional Norwegian clothing...

Broadway gets 'Frozen': How A Modern Movie Classic Became a Hot New Musical - This article from USA Today provides plenty of information about Frozen: The Musical, as the Lopezes discuss the new songs added to the musical and its "Shakespearean" tone, Patti Murin and Caissie Levy explain why they love Anna and Elsa so much, and Jelani Aladdin reveals what he brings to the role of Kristoff. In addition, we learn how Murin and Levy prepare for their performances in Levy's dressing room...

Disney's Challenge: Keeping it Frozen, But Still Fresh - This article from The New York Times was published shortly before the Denver tryouts commenced, and it provided audiences with plenty of intriguing information about Frozen: The Musical . This article was the first official source to reveal some of the biggest changes made for Frozen: The Musical, such as the decision to re-imagine Kristoff's troll guardians as Scandinavian forest spirits called 'Hidden Folk' and the removal of Elsa's snow monster Marshmallow. The cast and crew also explain how much effort went into turning Frozen into a stage musical, and we get to see Caissie Levy rehearsing her take on Elsa's signature song, 'Let It Go'...

Dressed to Chill: The Costumes of ‘Frozen’ - In this interview with Newsday, Christopher Oram and Michael Grandage reveal how the costumes used in Frozen: The Musical were created, talking about the challenges posed when adapting clothing from an animated movie to a world of "gravity, physics and mic packs". However, they also reveal the advantages of using these costumes, including the ability to constantly alter them after every performance, and add the sort of details which would be impossible to include in an animated movie...

How Frozen Reimagines Its Icy World for the Broadway Stage - One of the most important selling points of Frozen: The Musical is seeing how Elsa's ice powers are brought to life on stage. This article from Vulture reveals how a wide range of equipment was used by Christopher Oram in order to convey the illusion that the young queen has accidentally created an eternal winter. The items utilised by Oram include crystal curtains, a giant bridge covered in ice, icicles sprouting from the floor, video projections, dry ice, and even dancers dressed entirely in white. There are also a couple of new photos, which show just how spectacular this production is...

Inside Disney’s Ambitious Plan To Bring Frozen To Broadway - This in-depth report from Time highlights the challenges faced by the cast and crew of Frozen: The Musical as it arrives on Broadway, where it will compete with other family-friendly productions such as Wicked and Harry Potter and the Cursed Child. The article provides plenty of information about the ways in which Frozen: The Musical will appeal to an older audience (around 70% of Broadway theatregoers are adults seeing a show without children) and how the production will try and maintain the feminist appeal of the source material in an era where women's issues are more prominent than ever. We also learn how Patti Murin and Caissie Levy used fanfiction to help them prepare for their roles as Anna and Elsa, and discover how much effort went into designing costumes and scenery...

What Can You Expect from Disney's "Frozen" on Broadway? We Sat Down with the Choreographic Team. - Elaborate dance sequences are one of the key features of musical theatre, but they meed to be planned and rehearsed in great detail in order to impress audiences. In this report from Dance magazine, we follow Rob Ashford, the head choreographer of Frozen: The Musical, and his assistants as they edit the choreography for the song 'Fixer Upper' in order to emphasise Anna and Kristoff's growing connection to each other. The article highlights the demanding and insecure nature of work in the choreography team, but also shows how important every single movement is when you are making a musical...

Changes Since Denver

Given the intense levels of anticipation for Frozen: The Musical, the mixed reviews for the Denver try-out were a bit of a disappointment. In the five-month period between the end of the Denver run and the beginning of previews on Broadway, around 30% of Frozen: The Musical has been altered in order to make it as impressive as possible and win over audiences. These changes were covered in more detail by a variety of media outlets.

'Frozen' Comes to Broadway with a Tighter Focus and a Timely Message - Here, the cast and crew of Frozen: The Musical tell The Hollywood Reporter about the need to explore Elsa and Anna's emotional turmoil in greater detail, whilst also preventing the production from getting too dark. Michael Grandage reveals that he has responded to criticism of the Denver try-outs by adding a lighter opening, whilst Patti Murin confirms that Anna and Elsa have been given more time together...

How Broadway's 'Frozen' Will Surprise Movie Fans - In this article from Variety, Michael Grandage discusses some of the new scenes created for Frozen: The Musical and outlines a few interesting changes made since the Denver tryouts. A narration provided by Pabbie (head of the 'Hidden Folk') has been cut, more scenes with Anna and Elsa have been added, and (this is the most exciting change of all) the conclusion has been altered to include a reprise of an iconic song from the original film...

Will ‘Frozen’ Succeed on Broadway with a British director and a Different Ending? - In this article from The Washington Post, Michael Grandage discusses the challenges faced when directing a mega -musical like Frozen: The Musical, explaining how he chose to depict characters such as Olaf the snowman. He also reveals how the feedback for Frozen: The Musical in Denver influenced him whilst preparing for the arrival of the show on Broadway...

Reactions to the Previews

Although reporters and critics are unable to publish reviews of Frozen: The Musical until opening night, the start of the preview period is still an incredibly significant event worth mentioning in the media. As a result, several prominent newspapers provided articles commemorating the first performances on Broadway, and commenting on the Frozen fans who were the first people to see Frozen: The Musical at the St James' Theatre...

Disney's Frozen musical opens on Broadway: 'More nudity than expected' - The day after previews officially began, The Guardian provided a report on the reactions of the audience. Viewers of all ages were present at the first performance of Frozen: The Musical on Broadway, and they seemed to be full of praise. The title of this article refers to the fake nudity which occurs during the new musical number 'Hygge', which is sung by flamboyant salesman/sauna owner Oaken and a chorus of sauna users. Unsurprisingly, this sequence has generated quite a bit of debate amongst theatregoers...

'Frozen' has its First Performance on Broadway, and the Fan Frenzy Begins - Here, The LA Times highlight the excitement of audiences at the first preview performance of Frozen: The Musical, their passion for Anna, Elsa and friends, and their enthusiastic reaction when watching the production for the first time. They also provide photos of fans (and a few key members of the crew) waiting to enter the St James' Theatre and watch the show...

Frozen: The Musical First Look: Elsa and Anna's Surprisingly Risque Broadway Debut is a Hit with Adults - Like the Guardian article, this report from The Daily Telegraph highlights some of the racier aspects of Frozen: The Musical, including several "kissing scenes" and the "Hygge" sequence. It also features interviews with audience members, who generally provided positive reviews (although some expressed criticisms and doubts) and ends by speculating that its only a matter of time before Frozen: The Musical debuts in London's West End...

Frozen: the Musical Opens on Broadway – but Will Audiences Warm To It? - Here, The Daily Telegraph comment on the popularity of Frozen and its accompanying merchandise, whilst Michael Grandage provides some information about the development of Frozen: The Musical and the changes made since the Denver try-outs. Like most of the other articles unveiled the morning after the previews began, this report also highlights the numerous positive comments provided by the Frozen fandom...

Inside the 'Frozen' Dress Rehearsal: Broadway's New Musical Prepares to Lift the Curtain - This article from the LA Times chronicles the 'Gypsy Run' - a special dress rehearsal for Frozen: The Musical attended by numerous key Broadway figures. Jennifer Lee, who wrote and co-directed the original Frozen and has written the book for Frozen: The Musical, praises the actors and discusses the importance of a live audience, whilst the actor Alfred Molina (Jennifer Lee's boyfriend and one of the guests at the 'Gypsy Run') gets to provide his opinions on the production. This rehearsal took place just two days before previews began, but Jennifer Lee and the rest of the Frozen: The Musical team were still making changes to the opening number...

The Cast

Media coverage of Frozen: The Musical have unsurprisingly focused on Patti Murin and Caissie Levy, the actresses who play Anna and Elsa. There has been considerable interest in the reasons why they love playing Frozen's two iconic protagonists, and numerous reports have highlighted their unique bond. However, other cast members, such as Jelani Alladin and Greg Hildreth, have also revealed what its like to have a lead role in such a prominent musical...

Bow Down to the ‘Frozen’ Stars Ruling Broadway - In this article from The New York Post, Caissie Levy and Patti Murin explain their contrasting backgrounds and growing friendship, and also reveal why they don't like it when people refer to Elsa and Anna as 'Princesses'. In addition, Levy gets to talk about some of the elaborate costumes which Elsa gets to wear during Frozen: The Musical, including an all-new second-act outfit (complete with boots and trousers) to make Elsa seem more bold and assertive as she prepares to fix the damage her actions have caused...

‘Frozen’ on Broadway Made Them Sisters. Heartbreak Made Them Friends. - This report from the New York Times focuses on the friendship between Caissie Levy and Patti Murin, as they discuss their interests and explain why they relate to Elsa and Anna so much. More tragically, the two actresses reveal their experiences coping with miscarriages, and we find out how Murin's loss of a child has influenced her portrayal of Anna's search for a proper family....

Meet the Guy Behind Olaf in Broadway’s ‘Frozen’ - In Frozen: The Musical, Anna's snowman sidekick Olaf - one of the most memorable characters from the original movie - has been re-imagined as a full-bodied puppet being controlled by actor Greg Hildreth (The Olaf puppet has been designed in a manner similar to the 'double event' puppets in the stage version of The Lion King - both the actor and the character are fully visible at all times). This New York Post article reveals how Hildreth brings his puppet to life, and we also learn why Olaf is more than mere comic relief...

Propelled by New Canaan program, Jelani Alladin stars in Broadway’s ‘Frozen’ - One of the biggest talking points about Frozen:The Musical is the casting of African-American actor Jelani Aladdin as Anna's love interest Kristoff, which adds some much-needed racial diversity to the cast. Here, Alladin tells Connecticut Post about winning a theatrical scholarship at high school inspired him to pursue his acting dreams. He explains the demanding training regime he has to go on in order to prepare for the role, and talks about meeting his idol, Lin-Manuel Miranda...

Q&A: Jelani Alladin of ‘Frozen' - In addition to his Connecticut Post interview, Jelani Alladin has talked to Showtickets.com about playing Kristoff on Broadway. He reveals how he reacted when he first saw Frozen, and explains why he loves that movie so much. Alladin also praises the some of the changes made for Frozen:The Musical, including a new solo for Kristoff in Act two...

Q&A: Patti Murin of 'Frozen' - Showtickets.com have also provided a Q&A with Patti Murin, who is finally receiving a solo interview after sharing numerous interviews with Caissie Levy. Here, Murin explains how she became a fan of musical theatre, reveals how Anna became her favourite Disney Princess, and talks about having a "real life Elsa" in her older sister...

The Curious Care and Feeding of Olaf the Snowman in Broadway's 'Frozen' - This article from LA Times provides more information on Greg Hildreth, as he discusses the physical demands of bringing Olaf to life, and reveals how Michael Grandage taught him to base the character on the silly but wise comic fools traditionally found in Shakespeare plays. The article also highlights the work of Daniel Mura, who is in charge of maintaining the Olaf puppet and ensuring that it remains in good condition during every performance...

The Crew

The stars of Frozen: The Musical are aided by a large crew who help transfer the characters and their world from the screen to the stage. In addition to director Michael Grandage and songwriters Robert Lopez and Kristen Anderson-Lopez (who appeared extensively in the previous collection of links) a variety of prominent crew members have also enjoyed some time in the spotlight during the Frozen: The Musical publicity campaign...

Exclusive: Choreographer Rob Ashford Gives Us All the Deets on Broadway's 'Frozen' - In this interview with DanceSpirit, Rob Ashford, the head choreographer for Frozen: The Musical, talks about the need to add dance to the story and explains how choreography was used to highlight the differences between the kingdom of Arendelle and the world of the mountains. He also discusses the constraints posed by the elaborate costumes, and reveals what his favourite sequence in the musical is...

Frozen on Broadway is a Grown-Up version of the Disney Movie - This interview with the Lopezes is from Metro.US, and features them explaining how Frozen: The Musical is aimed at more mature audiences. Kristen Anderson-Lopez discusses the dark themes and the Scandinavian-inspired sets and costumes, whilst Robert Lopez talks about the staging of Elsa's coronation, which is soundtracked by a new ballad called 'Dangerous to Dream'...

How 'Frozen' Has Changed from Screen to Stage, Including Elsa's Brand-New Power Ballad - Here, The Lopezes tell Yahoo Entertainment about the differences between Frozen: The Musical and the original movie. They explain why the world of Frozen means so much to them, and provide some intriguing comments about the forthcoming sequel Frozen 2. They also reveal some of the most interesting changes made to Frozen: The Musical since the Denver tryouts concluded...

Here’s the New ‘Frozen’ Musical Poster (and Seven That Didn’t Make the Cut) - As most theatre fans tend to focus on the play and the people who bring it to life, the importance of good marketing (even for a property as iconic as Frozen) is often overlooked. In this article from the New York Times, Disney Theatrical executive Andrew Flatt reveals the official poster for Frozen: The Musical, and shows us seven rejected designs. His comments highlight how much time and effort go into selecting the perfect poster - considering the quality of the final image, he definitely made the right choice...

They Wrote the 'Frozen' Musical for Broadway, but Can they Make it Sing? - The Lopezes have appeared in more promotional material for Frozen: The Musical than anyone else, but Jennifer Lee, who wrote and co-directed the original film, has not appeared very often in the promotional campaign. However, this LA Times article rectifies that imbalance by putting the trio together, and they provide a variety of insights about how closely the songs and dialogue are linked. The Lopezes and Jennifer Lee also explain how a psychologist helped them work on Frozen: The Musical and Frozen 2 (which is due at the end of 2019), and discuss the need to communicate feminist messages in the era of Times Up...

Why is a Master of Shakespeare Directing the Musical 'Frozen'? Because 'Let It Go' isn't too Far From the Bard - Michael Grandage has spent several interviews discussing the parallels between Frozen: The Musical and iconic Shakespeare plays such as As You Like It and Hamlet. He repeats these comparisons in this interview with LA Times, but also provides some new insights, pointing out that the St James' Theatre is famous for hosting some of the greatest American musicals (including Oklahoma! and The King and I), revealing why he needs to make Frozen: The Musical feel new and unique, and explaining why theatre means so much to him...

The New Songs - Frozen Fridays

Since the preview period began, four of the most significant new songs from Frozen: The Musical have been officially released on-line on four consecutive Fridays. The four new songs released during these 'Frozen Fridays' were: 'Monster' (an epic eleven o'clock song for Elsa), 'What Do You Know About Love' (a upbeat duet for Anna and Kristoff), 'Dangerous to Dream' (a song which Elsa sings as she prepares for her coronation) and 'True Love' (a sombre second-act ballad for Anna). All four of these songs can be heard here, and they represent interesting and memorable additions to the Frozen soundtrack. The Lopezes have provided plenty of insights into these new songs, and the way in which they advance the narrative and develop the characters...

Watch a New Song From ‘Frozen’ on Broadway - The first new song to be released was 'Monster', which Elsa sings as she prepares to face up to the damage which her ice powers have caused. In this New York Times article, the Lopezes provide further information about Elsa's "Moment of Reckoning", discussing the need to explore her emotional turmoil in detail whilst also providing hope and optimism for audiences who want Elsa to be a strong and powerful role model. The article also provides audiences with an exclusive look at the music video, which shows Levy performing the song at Manhattan's Gotham Hall...

These Broadway Stars Reacting To A New Song From Frozen On Broadway Are All Of Us- With its dark lyrics and powerful rock-orientated hook, 'Monster' seems to be one of the most popular of the new songs added to Frozen: The Musical. This article from OhMyDisney shows several Broadway stars (who have appeared in Disney Theatrical hits such as The Lion King, Aladdin and Newsies), listening to 'Monster' for the first time, and their excited and emotional reactions indicate that the song is going to be a major fan favourite...

The Inside Story behind Anna and Kristoff's new Broadway 'Frozen' Duet (plus exclusive song premiere) - The song released on the second 'Frozen Friday' was 'What Do You Know About Love?', a number where Anna and Kristoff sing about their conflicting perspectives on romance as they cross a treacherous bridge. In this article from Yahoo Entertainment, the Lopezes reveal how they adapted Anna and Kristoff's journey for the stage, and explain how they drew on their own relationship in order to develop the dynamic between the two protagonists, as their initial hostility towards each other gradually turns into a powerful friendship...

'Frozen' Exclusive: Hear Elsa's Emotional New Song from the Broadway Musical - In this article from USA Today, written to coincide with the release of 'Dangerous to Dream' (the third song to be released during the 'Frozen Fridays), The Lopezes provide a brief but interesting commentary on all four of the 'Frozen Fridays' songs. They explain how Dangerous to Dream functions as "an 'I want' song for a character who's not allowed to want anything", and how Kristen Anderson-Lopez's history of heartbreak inspired 'True Love'...

Listen to the Frozen Musical’s New Solo for Princess Anna, ‘True Love’ - The final 'Frozen Fridays' release was 'True Love', an eleven o'clock ballad which Anna sings at her absolute lowest point, after Hans betrays her and the 'Frozen Heart' curse accidentally inflicted by Elsa begins to take its toll. In this article from Vulture, Patti Murin and Kristen Anderson-Lopez reveal how 'True Love' conveys Anna's growing disillusionment, and we also learn how the song elaborates on the arrangement and themes of Frozen's iconic opening ballad 'Do You Want to Build A Snowman?'...

Summary

Based on these articles and interviews, it seems like Frozen: The Musical will satisfy Frozen fans whilst providing enough unique elements to please more critical audiences. As the official opening night gets increasingly close, the enthusiastic reactions of Frozen addicts and the goings on behind the scenes have been emphasised in greater detail, but the publicity campaign for Frozen: The Musical has not changed much over the past month, with the Lopezes, Michael Grandage and Caissie Levy still extensively promoting the darker, more mature tone of this production. Overall, Frozen: The Musical is likely to enjoy a long and successful run on Broadway. It will probably receive several nominations in the Tony Awards (Broadway's equivalent to the Oscars) and audiences all over the world can look forward to seeing Frozen: The Musical arrive in major theatres all over the world over the next few years...

The Shape of Water - Review

Who Made The Shape of Water?

The Shape of Water is directed by Guillermo Del Toro, who is best known for creating fairy-tale inspired gothic horror movies such as Pan's Labyrinth and Crimson Peak. Del Toro came up with the story for The Shape of Water and co-wrote the screenplay with Vanessa Taylor.

What’s it About?

The Shape of Water centres on Elisa Esposito (Sally Hawkins) a mute woman living in 1960s Baltimore. Elisa spends her nights working as a cleaner at a mysterious research facility with her friend Zelda (Octavia Spencer). During the day, she lives in an apartment above a cinema, spending her time with neighbour Giles (Richard Jenkins), a struggling artist. One day, Elisa finds a mysterious amphibious creature (Doug Jones) being held in the facility, with the tyrannical American government agent Strickland (Michael Shannon) and principled Soviet spy Dr Hoffstetler (Michael Stuhlbarg) both taking an interest in studying the so-called ‘Asset’. Elisa forms a relationship with the creature, and after finding out about Strickland’s barbaric treatment of the creature and his plans to have it vivisected, she hatches a plan to help it escape…

My Review

(NOTE: This Review Contains Some Minor Spoilers, So Be Careful...)

The Shape of Water is one of the most prominent competitors in this year’s Academy Awards, (having received an impressive 13 nominations) and it has received plenty of nominations and awards in the other major ceremonies of Awards Season. It’s easy to see why the movie has been so popular with critics, as Del Toro has provided a timeless and appealing romance without sacrificing his signature dark, atmospheric and mysterious style. Overall, The Shape of Water is definitely worthy of the accolades it has received, living up to the promise (used in the tagline for the official novelization) that it will be “a fairy tale for troubled times”…

The fairy tale nature of the movie is established perfectly through an opening voice-over from Giles, as he prepares us for “a tale of love and loss” about “the princess without voice” and “the monster who threatened to destroy it all”. The Shape of Water certainly fits this poetic description. Elisa is the latest in a long line of mute fairy tale heroines (she even shares her name with the protagonist of Hans Christian Andersen's story The Wild Swans), and in spite of some early attempts at misdirection, It doesn’t take long to figure out that violent, bigoted and misogynistic Strickland, who embodies every negative feature of American masculinity, will be the monster. Giles and Zelda also fit the familiar archetypes of the struggling artist and the sassy black best friend, respectively. However, Del Toro and Taylor ensure that these characters are more than just stock figures. Few fairy tale films begin with the protagonist performing sexual activities in the bath, and Elisa is a quirky and sometimes mischievous character who is not your traditional paragon of integrity. Furthermore, in spite of all the familiar tropes and conventions in this story, the final scenes actually come as a bit of a surprise. Although a bittersweet and mysterious conclusion was an inevitability, given the tone of the story and its development, the way the ending plays out is darker and more shocking than expected, and all the better for it.

The Shape of Water tells a simple story, but the technical aspects are handled brilliantly. The prologue, featuring the camera taking us through a series of rooms flooded with water, perfectly establishes the mysterious and atmospheric mood. The effects work used to bring the ‘Asset’ to life (Costumes and facial prosthetics were utilised to create the creature, with computer effects added to enhance its expressions) is seamless, and the cinematography is effective. Del Toro originally planned to shoot The Shape of Water in black and white, and whilst this would have been really interesting, the use of colour is justified. The predominantly blue and green colour palette is a bit murky, but it suits the film very well, and there are plenty of excellent shots. The score from Alexandre Desplat is worthy of special mention, as it conveys both old-fashioned romance and the beauty and mystery of the underwater world. Del Toro’s love of cinema is evident throughout the movie, especially in scenes where Elisa visits to the cinema below her apartment and watches old Shirley Temple movies with Giles. At one point, she even briefly gains a voice in a black-and-white song-and-dance sequence set to the song ‘You’ll Never Know’. There are also numerous subtle allusions to films ranging from 1950s monster movies (The ‘Asset’ is essentially The Creature from the Black Lagoon) to Fred Astaire/Ginger Rogers movies such as Top Hat and Follow the Fleet. In a sense, The Shape of Water is to the 2018 Oscars what films like The Artist and La La Land were to past Academy Award ceremonies – a charming throwback to the classic cinematic genres which have fallen into decline. However, regarding The Shape of Water as just another celebration of Hollywood’s past is a real insult – this film uses its technical magic to provide something deeper and more substantial than mere escapism...

The acting is excellent across the board. As Elisa, Sally Hawkins (Paddington 2) communicates entirely in sign language (On some occasions, she is subtitled, but on others, Giles and Zelda explain what she is saying). Even when she is with more talkative characters, Hawkins has little trouble gaining our attention and providing a protagonist both unique and relatable. The ‘Asset’ is also unable to speak, but Del Toro regular Doug Jones (Pan’s Labyrinth) brings him to life with agile and fluid body language. The 'Asset' shares Elisa’s empathy and fascination with movies, TV and music, but the character has a darker side which gets unleashed if you make him angry or scared. The wordless romance which develops between Elisa and the ‘Asset’ is engaging and totally plausible. The initial scenes of Elisa sharing her food with the creature soon blossom into a relationship both ordinary and extraordinary, as moments where the two sit at a table and eat breakfast are contrasted with a memorable sex scene in a flooding bathroom. As odd as the inter-species romance may seem on paper, Del Toro manages to convince us that the human and sea-creature are meant for each other.

Aside from our two protagonists, the supporting cast is also memorable. Richard Jenkins (Let Me In) plays Giles, a closeted gay man who comes to recognise the extent to which he is forbidden from expressing his desires and begins to understand why Elisa cares so much about the ‘Asset’. Michael Shannon (Man of Steel) has a reputation for playing intimidating and volatile villains, and uses this to disturbing effect as Strickland, making the character a major threat from the beginning and giving his eventual villainous breakdown greater impact. As he loses control of the ‘Asset’, and a gruesome injury inflicted by the creature begins to take its toll on him, Strickland drops all pretences of normalcy, resulting in the most brutal scenes of the movie. Octavia Spencer (The Help) is likeable as Zelda, and gets some amusing lines, but she is relatively underused for most of the story. Meanwhile, Michael Stuhlbarg (Hugo) is excellent as Dr. Hoffstetler, who is torn between serving his Soviet superiors and protecting the fascinating ‘Asset’. His internal dilemma generates a level of ambiguity which makes his scenes tense and engaging. Although Stuhlbarg’s turn has received less recognition than the rest of the cast, he deserves to be singled out for praise as well.

The Shape of Water is set in the early 1960s (any indications of a specific year are vague and contradictory) and the period setting is used brilliantly, with most of the main characters being associated with certain aspects of American culture. Elisa is fascinated by the entertainment offered by both grand cinemas and boxy, black and white TVs. Giles spends his time buying key lime pies from an isolated diner and pitching advertisements to an unappreciative ad agency, whilst Strickland’s suburban house and flashy new Cadillac demonstrate his single-minded obsession with being successful.  The Cold War skulduggery threatens to distract from the main story at times, but it raises the stakes for Elisa and her friends, and the idea of contrasting a monstrous American agent with a compassionate Soviet spy is an impressively subversive touch. Most of the unpleasant aspects of the early 1960s, such as the homophobia and racism, are depicted clearly but subtly, highlighting the extent to which Elisa, Giles and Zelda are isolated. This makes it easy to understand are willing to risk everything they have to protect the creature. The message in favour of social justice is clear and unambiguous, and this gives The Shape of Water dramatic resonance which elevates it beyond traditional Hollywood fare. Ultimately, for all the scenes of sex and violence, it is the political messages and enthralling atmosphere which make The Shape of Water feel like an adult fairy tale, and this is why it has been so successful...

Conclusion

The Shape of Water resoundingly succeeds in its goal of providing a classic fairy tale with a modern and subversive edge. Although the story is a familiar one, Del Toro makes it his movie feel unique and engaging, due to its intriguing setting, likeable protagonists and despicable villain. The film also stands out due to its distinctive atmosphere, enhanced by distinctive cinematography and an excellent score. The Shape of Water is brimming with interesting ideas, celebrating the tenacity and compassion of Elisa and her friends whilst protesting against the injustices and cruelties which make life so difficult for them. In lesser hands, The Shape of Water could have been a formulaic and ridiculous mess, but Del Toro has the talent to make it into something special. The Shape of Water deserves all the recognition it has received this awards season, and it is a must-watch for older viewers seeking a mature but magical fairy tale which captures the mystery and enchantment which the best works in the genre provide.

If You Liked This, See…

La Belle Et La Bete (1946) – The Shape of Water is essentially a variation on Gabrielle Suzanne Barbot De Villeneuve’s legendary fairy tale Beauty and the Beast, as a beautiful woman falls in love with a mysterious creature. Although numerous changes have been made to the traditional template (the Beast is the one being held in capitivity in this story), The Shape of Water still has plenty of similarities to Jean Cocteau’s iconic adaptation of Villeneuve’s story, with a focus on physical expression over dialogue, a powerful gothic atmosphere, and an aggressive alpha-male villain…

Let Me Hear You Whisper (1969) – The harshest criticism affecting The Shape of Water has come from those accusing Del Toro of plagiarising his story from the play Let Me Hear You Whisper, adapted into a TV film in 1969. Both films concern a cleaner at a research facility seeking to free an aquatic creature. The two movies have undeniable similarities, but Del Toro’s story feels distinct enough to not seem like a blatant copy. Regardless of whether you think Del Toro copied from Let Me Hear You Whisper, it is interesting to see how these two different films tackled the same basic ideas…

Pan’s Labyrinth (2006) – Del Toro previously won three Oscars for this Spanish-language film about a girl in Fascist-era Spain who comes across a mysterious fantasy word. Although darker and scarier, Pan's Labyrinth contains many of the same elements as The Shape of Water, including a plucky female protagonist, mysterious creatures played by Doug Jones and a sadistic, authoritarian villain more terrifying than any fictional monster…

Frozen: The Musical - Articles and Links

Frozen: The Musical, the long-awaited stage adaptation of Disney's 2013 animated megahit Frozen, is finally about to arrive on Broadway. Previews begin at the St. James Theatre on Thursday, and the show officially opens there on 22nd March. Frozen: The Musical was greenlit shortly after the original film became a major pop-cultural phenomenon, and its arrival on Broadway represents the culmination of months of hard work from the cast and crew. Audiences of all ages are incredibly interested in seeing the adventures of Anna and Elsa brought to life on stage, and during a seven-week tryout in Denver last summer, Frozen: The Musical attracted audiences of almost 126,000 people. Reviews of the Denver performances provided plenty of constructive criticism, and the show has undergone some substantial alterations (around 30% of the musical - approximately 40 minutes worth of material - has apparently been changed since the end of the Denver tryout) in order to get it ready for Broadway. Hopefully, it will prove a major critical and commercial success and appeal to both fans of Frozen and casual audiences...

Here, we will showcase a variety of articles about Frozen: The Musical, including interviews with key members of the cast and crew, and previews of some of the new songs created for this version of Anna and Elsa's story.

(Note: This post contains spoilers, as it assumes that most of us are familiar with the story of Frozen by now. If you aren't, be careful...)


Interviews with Michael Grandage

Frozen: The Musical will be brought to life by the British director Michael Grandage. Although best known for directing acclaimed plays such as Red and Frost/Nixon, he has also overseen major revivals of the grand and glitzy musicals Evita and Guys and Dolls. Grandage has talked extensively about his aims of making Frozen: The Musical deeper and more dramatic without losing the entertainment value and spectacle of the source material...

‘Frozen’ Director Michael Grandage On How the Show Took Shape - In September 2016, Michael Grandage was appointed director of Frozen: The Musical after Disney Theatrical's initial choice, Alex Timbers, left the production. In this interview with Broadway News, Grandage explains why he joined the project, and reveals how he developed his vision for the project in the ten months before the Denver tryouts began. He also talks about the need to make Frozen: The Musical feel like a unique work independent from the original film...

Frozen Musical: First Look at the Stars in Costume - This article from Entertainment Weekly was unveiled on the day Frozen: The Musical began its run in Denver, and it provided us with our first look at the lead actors in costume. It also features Grandage promoting the advantages of theatrical productions, including the increased length and the opportunity to make constant alterations every night. He also discusses the changes made to the characters and the need to provide new surprises for the audience. Meanwhile, Christopher Oram, who designed the sets and costumes for the musical, reveals how he was inspired by his trips to Norway and explains how he provided detailed and elaborate costumes which could also be suitable for the demands of a spectacular stage musical....

Frozen on Broadway: Inside Disney’s Latest Stage Adaptation - In this short but interesting article from Vanity Fair, Grandage explains how Frozen resembles Shakespeare's comedy As You Like It, and reveals how he has made Frozen: The Musical more mysterious and magical, with the comedic trolls from the original movie re-imagined as 'Hidden Folk' based on Scandinavian forest spirits. We also get a pretty photo of protagonists Anna, Elsa and Kristoff interacting with each other against a snowy mountain backdrop...

Michael Grandage Finds Shakespeare in “Frozen” - In a directing career lasting over two decades, Michael Grandage has supervised productions of a number of iconic Shakespeare plays. In this article from The New Yorker, Grandage explains how has been inspired by Shakespeare's comedies Twelfth Night and As You Like It. He also reveals that wintry themes and settings have been used frequently in his Shakespeare productions, and explains the parallels between Elsa and Shakespeare's iconic tragic protagonist Hamlet, as both are defined by their existential journeys...

Michael Grandage on 'Frozen on Broadway': I'll Never Grow Tired of 'Let it Go' - In this article from The Daily Telegraph, Michael Grandage discusses his career as a director, producer and head of the Michael Grandage Company. Although the article is focused on Grandage's British work, with very little about Frozen: The Musical, he gets to explain why 'Let it Go' is such a popular and iconic song, and demonstrates his knowledge of Frozen through a mini pop quiz...

Why Broadway’s Frozen Will Be a Different Story From the Disney Animated Musical - The original Frozen was such a huge success because its subversions of the traditional Disney Princess formula felt unique and exciting. As Frozen: The Musical will stick very closely to the storyline of the movie, it will not be easy to capture the surprise value of these iconic moments. However, in this interview with Playbill, Grandage claims that Frozen: The Musical will feel like an entirely unique story, and the possibility that things may develop differently ensures that the memorable twists from the movie will seem fresh and exciting again. He points to the success of Frost/Nixon (his play about David Frost's interviews with Richard Nixon in 1977) as proof that a retelling of a familiar story can engage audiences and feel completely new to them...

Interviews with Kristen and Robert Anderson-Lopez

One of the biggest selling point of Disney's stage musicals is the opportunity to hear numerous new songs alongside the old favourites, and Kristen and Robert Anderson-Lopez who wrote the songs for Frozen, have added a variety of new tunes for the Broadway version. The songs from the original movie, such as "Do You Want to Build A Snowman?", "For the First Time in Forever" and "Let It Go", will be joined by new songs like "What Do You Know About Love?", "Dangerous to Dream" and "Monster". Based on the interviews which the Lopez's have conducted to discuss the additions to the soundtrack, it seems like a few of them could be incredibly popular with Frozen fans...

5 Things We Learned At BroadwayCon’s ‘Frozen’ Show Spotlight - In January, the Lopez's promoted Frozen: The Musical at the major musical theatre festival BroadwayCon. This article from StageBuddy explains five of the most interesting facts revealed by the Lopez's at this event, as they told audiences how they used 'Let It Go' to develop Elsa's character, explained how their daughter helped them create lyrics for 'For the First Time in Forever' and discussed the Japanese puppetry used to bring Anna's snowman sidekick Olaf to life on stage. The most exciting comment from the Lopez's was their reveal that four of the songs they created for Frozen: The Musical ('Dangerous to Dream', 'What Do You Know About Love?, 'Monster' and 'True Love') will be released on consecutive 'Frozen Fridays' during the four weeks leading up to opening night...

8 Things You Need to Know About Frozen‘s New Show on Broadway - Another article about the Lopez's BroadwayCon appearance, this report from Clevver provides a bit more information. In this article, we get to hear the Lopez's discuss the new songs for each major character, talk about the ability to revisit material which they could not use in the original Frozen, and reveal how they listened to audience feedback when editing Frozen: The Musical following the Denver tryouts...

Robert Lopez On How Star Wars Influenced Frozen the Broadway Musical - In Frozen: The Musical, all the major characters (and a couple of minor ones) from the original movie will get their own signature songs. One of the hardest characters to write for is Hans, the seemingly perfect prince who eventually becomes Frozen's primary villain. Facing the challenge of trying to trick fans of Frozen into trusting Hans a second time, Robert Lopez turned to John Williams' iconic score for Star Wars movies in order to find inspiration. In this article, he reveals to Nerdist how he used Williams' leitmotif for Luke Skywalker as as a model for Hans' new theme song, 'Hans of the Southern Isles'...

She was ‘Frozen.’ Now ex-Charlottean Kristen Anderson-Lopez is On Fire.- This article from Charlotte Observer was written to promote the 2016 Broadway production of Kristen Anderson-Lopez's a capella musical In Transit, but it provided an excellent opportunity for her and Robert to talk about the new music which they were creating for Frozen: The Musical. They reveal that it took 9 months to create enough new songs to fill a stage musical, and explain how they will use these additional songs to develop the characters and overcome the constraints of the stage...

The Challenges in Adapting Frozen for the Broadway Stage - This article from Playbill was written in 2016, when Frozen: The Musical was at a relatively early stage in development (Alex Timbers was still attached to direct at this point). Here, Robert Lopez talks about the need to radically expand the score and story for Frozen: The Musical, and discusses the challenges faced when adapting a film like Frozen for the stage, as a story which was previously told through action sequences and close-ups now needs to be driven by the music...

Writing A Score From Screen to Stage - In this article from Broadway Direct, the Lopez's discuss the difference between animated movies and stage musicals, and explain how the process of writing songs changed as Frozen: The Musical went deeper into production, with even the smallest things needing to be altered in order to make the musical as engaging and spectacular as possible. The Lopez's place particular focus on 'Colder by the Minute', an elaborate musical number which will be the soundtrack to the climatic confrontation between our main characters. They reveal how they used the lyrics and melodies to create atmosphere and tension and provide a strong structure for the sequence, as Anna has to choose whether to seek help from Kristoff or save Elsa from Hans...

Interviews with Caissie Levy 

Given her status as Frozen's most iconic and interesting character, it is little surprise that promotional material for Frozen: The Musical has focused primarily on Elsa. In Frozen: The Musical, Elsa will be played by Caissie Levy, who has starred in hit musicals such as Wicked, Les Miserables and Ghost: The Musical. In these interviews, she explains what it's like to bring Elsa to life, and discusses the songs which she will get to perform, including a certain Oscar-winning power ballad...

A New Frozen For Every Age - Unsurprisingly, many interviews with Caissie Levy have paired her with Patti Murin, who plays Elsa's sister Anna. In this article, Levy and Murin discuss Frozen: The Musical, promising a deeper version of the familiar story which deals with more mature themes. Furthermore, Levy also explains what it's like to develop Elsa and her internal struggles...

Caissie Levy & Patti Murin Redefine the Disney Princess in Broadway's Frozen - In this interview with Broadway.com, Caissie Levy and Patti Murin discuss their relationship, revealing how well they get on and explaining what they love most about Anna and Elsa. They also share a couple of personal secrets and talk about their friendships with some of the stars of the original Frozen, such as Elsa's original voice actress, Idina Menzel...

Caissie Levy Breaks the Ice in 'Frozen' on Broadway - In this article from TodayTix, Levy praises the fact that Elsa is not defined by her relationship with a man (most of the characters she has played on stage have been in romantic relationships with the male protagonists), reveals why Elsa's character arc resonates with so many people, and talks about performing Elsa's iconic signature song, 'Let it Go', which is being used to conclude Act 1 of Frozen: The Musical. Michael Grandage and Patti Murin also appear in this article, explaining why Levy is the ideal choice to play Elsa...

Canadian Caissie Levy is Warming Up to Be Broadway’s Elsa in Frozen - In this interview with the Toronto Star, Levy reveals how being a mother has inspired her interpretation of Elsa. She also reveals the endorsement Idina Menzel gave her in a recent meeting, and explains why the narrative of Frozen: The Musical has been simplified since the Denver tryouts...

“Frozen” Star Caissie Levy On Elsa: “She’s Been Taught The Thing That Makes Her Special Needs To Be Denied” - In this interview with NewNowNext, Levy reveals how she gained the role of Elsa, and tells us how she is preparing for belting out numerous power ballads every night on Broadway. She also discusses Elsa's anxieties and her love for Anna...

‘Frozen’ Stars Look Forward to Performing New Songs in Broadway Show - In this article from Newsday, Levy promotes Elsa's new song 'Monster', which she describes as "badass". She also discusses what it's like to sing 'Let it Go', and reveals how focusing on the lyrics and story of that song will allow audiences to rediscover what made that song so iconic in the first place...

Videos

Murin and Levy will be joined by a large cast of talented actors, with Frozen's three other main characters, Kristoff, Hans and Olaf, being played by Jelani Alladin, John Riddle and Greg Hildreth respectively. All five of the lead performers have appeared together in numerous videos to promote Frozen: The Musical, as they talk about their characters and reveal what it is like to portray them on stage. Michael Grandage and Kristen and Robert Anderson-Lopez have also appeared frequently in these videos, along with several key members of the creative team...

7 Reasons to Get Excited for Broadway's Frozen - In this interview with Playbill, the lead stars and key creatives of Frozen: The Musical discuss the aspects of the musical which excite them the most. Michael Grandage and Caissie Levy promote the new version of 'Let it Go', Jelani Alladin praises the sophisticated puppetry used to bring Kristoff's reindeer sidekick Sven to life, Kristen Anderson-Lopez reveals that the ending has been changed since the Denver tryout, and Greg Hildreth teases a new song for Olaf...

BWW TV: Bundle Up and Watch the Frozen Team Preview New Songs for Broadway! - In this video from BroadwayWorld, Michael Grandage, Kristen and Robert Anderson-Lopez and the five lead actors tell reporter Richard Ridge about Frozen: The Musical. Patti Murin explains how working with the Lopez's inspired her to continue acting, John Riddle talks about his childhood love of Disney villains, and Greg Hildreth places Olaf in the Shakespearean tradition of silly but wise comic fools. Meanwhile, Kristen Anderson-Lopez talks about the changes made to the story, and sings the new songs 'Dangerous to Dream' and 'What Do You Know About Love?' with Robert accompanying her on piano...

Frozen Fridays  - In this Instagram video released to promote the 'Frozen Fridays' which begin this Friday, the Lopez's reveal that 'Monster', a second-act power ballad for Elsa, will be the first new song released during the promotion. They also reveal their excitement at unveiling four of the new songs early...

Frozen The Musical: Official Trailer - This video was released shortly before the Denver tryouts began and provided Frozen fans with their first proper look at Frozen: The Musical. It shows us footage of the cast rehearsing for the show and gives us information about the large creative team, headed by director Michael Grandage, writer Jennifer Lee and executive producer Thomas Schumacher...

Frozen The Musical: The Countdown to Broadway - In this video, Michael Grandage talks about his excitement at sharing Frozen: The Musical with audiences and critics for the first time at Denver, and explains how this influenced the development of the project. He also teases some of the changes made to the musical since the Denver tryout, with a new opening and conclusion, several changes to the songs, and a more streamlined narrative...

Frozen The Musical: The Sitzprobe - In the world of musical theatre, the 'Sitzprobe' is the first full runthrough of the songs with an orchestra. In this video, we see the 'Sitzprobe' for Frozen: The Musical, which took place before the Denver tryouts. We get to hear snippets of 'For the First Time in Forever; 'What Do You Know About Love?' and 'Dangerous to Dream', as sung by the cast, whilst the Lopez's and other figures involved in bringing the songs and score to life (such as Dave Metzger, who is in charge of the orchestrations) discuss the diversity of the soundtrack and the new songs given to the characters...

Introducing Caissie Levy and Patti Murin of Broadway's Frozen - In this video, Caissie Levy and Patti Murin reveal what it's like to play Elsa and Anna, and explain the journey which their characters undertake as they come of age. Meanwhile, Jennifer Lee, who co-directed the original Frozen and wrote the book for the stage version, explains how the two actresses bring Anna and Elsa to life and put their own distinct spin on the characters...

What is at the Core of Your Character? - In this Instagram video, our five leads provide some brief but interesting comments on their characters, as Patti Murin talks about Anna's optimism, Jelani Alladin discusses Kristoff's relationship with Sven, and John Riddle explains his take on the slippery Prince Hans...

Summary 

All the interviews and articles listed above indicate that Frozen: The Musical is going to provide something new and different whilst staying true to the iconic source material. The promotional campaign for Frozen: The Musical has focused on the more elaborate story, the increased levels of character development, and the wide range of new songs, creating anticipation amongst Frozen fans whilst also winning the attention of those less interested in the 2013 Disney megahit. Particularly welcome is the emphasis on Caissie Levy, whose comments indicate that Elsa and Anna's sisterly relationship (which has made Frozen into such an iconic and successful franchise) will be expanded upon in this version. Overall, it seems like Frozen: The Musical will be able to emulate the success of Disney Theatrical's stage adaptations of The Lion King, Beauty and the Beast and Aladdin, and it will eventually enjoy long runs in major theatres all over the world...