The problem with modern Disney princesses
Photo courtesy of Wikimedia Commons
The quirky and adorkable princess trope is recent Disney movies is overused and has potentially harmful effects.
What do Disney characters such as Rapunzel from Tangled (2010), Anna from Frozen (2013), Mirabel from Encanto (2021), and Moana from Moana (2016) all have in common? Not a lot —actually— except for being young, female, 3D-animated leads. These characters originate from different cultures and experience unique upbringings and family dynamics. With all that being true, why is it hard for many to distinguish between their personalities?
Anna is wonderfully entertaining to watch; she is clumsy, awkward —in a charming way— optimistic, and energetic. Her quirkiness, big eyes, and charismatic energy make her a humble yet admirable princess. While this naive, goodhearted portrayal of women does represent some of the little girls who sit down to watch these films, it is important to mention that not all women are similar to these likable “dorks.” So why are the creators of every modern Disney princess convinced they are?
This is not to say that older Disney princess movies are not burdened with issues. We all know that their boy-centric nature reinforces limiting gender roles and undermines the depth of female characters. Yet movies like Mulan (1998) and The Princess and the Frog (2009) prove that Disney can mix and balance strong female narratives with romance.
While older Disney had its fair share of problems —to say the least— most of the princesses were easily distinguishable. Belle, who is smart and patient, is very different from Ariel, who is eager and rebellious. Mulan and Cinderella are both selfless individuals, but one shows strength through determination and the other through kindness, respectively.
Disney’s adorkable portrayal of female leads, a term coined by Youtuber ModernGurlz, appears to be a well-intentioned step in a progressive direction. At first, it was nice to see portrayals of women who are not sophisticated, poised, and put together like the older generations of princesses. Women, even princesses, are human with their fair share of imperfections and quirks, and it is good for younger girls to see female leads that resemble some of their goofy friends from middle school.
Unfortunately, however, copying and pasting these adorkable character traits in every new movie begins to suggest that this is how the “ideal” woman should act. These adorkable traits may offer a novel portrayal of women, but writers and directors fail to realize that this does not accurately depict all women.
No single character, character design, or character trait will accurately represent all women. Creating an adorkable princess was a successful and interesting deviation from the status quo, but to be frank, the trope is being milked to the point of potential harm. What if some young girls, those not as eccentric or outgoing, never see themselves represented again? How is this surplus of overly optimistic women different from the constant representation of damsels in distress?
It is clear that the success of Tangled (2010) and Frozen (2013), both high-grossing films, has heavily influenced Disney executives to push for this “new style” of women. Instead of developing a character with traits that best fit the narrative, writers seem to be building off this unspoken blueprint.
People can be shy, outgoing, cynical, optimistic, stoic, or funny. Where are the new princesses who do not like to shout and shake the hands of strangers? What about the girls who are more soft-spoken and apprehensive? Groups of people are never just one thing— so why should women be?