XPost: alt.stupidity, alt.fan.rush-limbaugh, talk.politics.guns   
   XPost: sac.politics, alt.hollywood   
   From: democrat-insurrection@mail.house.gov   
      
   https://amac.us/newsline/society/is-disneys-300-million-snow-white-   
   debacle-final-nail-in-coffin-of-woke-hollywood/   
      
   Disney has been no stranger to box office bombs following the company’s   
   woke turn in recent years. But the live-action remake of Snow White may   
   become the Mouse House’s most embarrassing – and expensive – flop yet.   
      
   Snow White, starring Rachel Zegler as Snow White and Gal Gadot as the Evil   
   Queen, hit theaters on March 21. Despite a production budget of $270   
   million, the film earned just $44.2 million during a lackluster opening   
   weekend before ticket sales plummeted 66 percent to just $14.2 million   
   during its second weekend.   
      
   The scale of Snow White’s failure is staggering; according to Cosmic Book   
   News, it could lose as much as $300 million once the marketing budget   
   (usually as much or more than the production budget) is taken into   
   account. That would make Snow White among Disney’s least successful films   
   ever – a shocking result given that the original, which was released in   
   1937 as Disney’s first feature-length animated film, is beloved by   
   generations of viewers.   
      
   Even the critics – normally friendly to any big-budget film with a   
   decidedly left-wing political agenda – can’t stand it. The film has just a   
   44 percent rating on “Rotten Tomatoes.”   
      
   It’s not difficult to see where Disney went wrong with Snow White.   
   Following years of criticism over the company infusing far-left ideology   
   into its movies and TV shows, this flop appears to be yet another peak of   
   consumer backlash. This rendition of Snow White not only rewrote the   
   original story but did so with absolute contempt for the source material.   
      
   Controversy over the film began in June 2021 when Rachel Zegler was   
   announced as the film’s titular lead. Zegler, a half-Polish, half-   
   Colombian American, rose to critical acclaim for her portrayal of Maria,   
   the Latina female lead in the film adaptation of West Side Story. But as   
   critics pointed out, in the original Snow White story, based on a fairy   
   tale by The Brothers Grimm written in 1812, the main character is   
   described as having “skin white as snow, lips red as blood, and hair black   
   as ebony” – hence the name “Snow White.”   
      
   Moreover, the central tension in the story revolves around the Evil   
   Queen’s jealousy of Snow White’s beauty. As even Zegler’s fans pointed out   
   online, the movie utterly fails to create a compelling image of the   
   actress as “the fairest of them all.”   
      
   Of course, anyone who pointed out these glaring discrepancies was   
   instantly decried as a racist and a misogynist. But to neutral observers,   
   it was clear that Disney was attempting to play identity politics with the   
   casting rather than choosing the best actress for the role. This was made   
   all the more obvious when Zegler criticized the Snow White story, calling   
   it “extremely dated when it comes to the ideas of women being in roles of   
   power” and describing Prince Charming as a “stalker.”   
      
   In a later interview with Variety, Zegler said of her character, “She’s   
   not going to be saved by the prince. She’s not going to be dreaming about   
   true love. She’s dreaming about becoming the leader she knows she can be.”   
   (Because who doesn’t want a healthy dose of militant feminism in their   
   fairy tales?)   
      
   As if those comments weren’t enough to turn off moviegoers, Zegler   
   attracted more controversy by infusing left-wing activism into her   
   promotion of the film. In an X thread promoting the trailer, she posted,   
   “and remember, as always, free palestine.” Co-star Gal Gadot, who is   
   Israeli, reportedly received death threats over her nationality, and   
   Disney had to hire extra security for Gadot and her family.   
      
   Following President Donald Trump’s election last November, Zegler also   
   said, “may Trump supporters and Trump voters and Trump himself never know   
   peace.” She later apologized for that comment.   
      
   Beyond Zegler, filmmakers unwittingly stepped into another casting   
   controversy through their portrayal of the seven dwarfs. The original plan   
   was to have seven real-life little people portray the characters. But   
   following this announcement, critically acclaimed actor and little person   
   advocate Peter Dinklage blasted the decision, calling Snow White a   
   “backward story about seven dwarfs living in a cave together.” In   
   response, Disney announced that the dwarves would be “reimagined” as seven   
   CGI “magical creatures.”   
      
   This stoked further controversy as other actors living with dwarfism   
   excoriated Dinklage and Disney for denying them work. Most notably, Jeff   
   Brooks, another actor with dwarfism, stated, “Peter Dinklage may be the   
   biggest dwarf actor of all time, but it doesn’t make him King Dwarf… It   
   makes me sick to my stomach to think that there are seven roles for dwarfs   
   that can’t get normal acting roles, and now they are gone because of this   
   guy.”   
      
   These casting decisions and even Zegler’s political activism could perhaps   
   be dismissed as superficial and superfluous so long as the spirit of the   
   film is preserved. But Disney screenwriters so aggressively rewrote the   
   movie that, were the character names and costumes not the same, one could   
   mistake it for an entirely different film.   
      
   The noble, selfless, and brave Prince Charming, for instance, was replaced   
   with “Jonathan,” a grungy, cynical bandit who seeks to overthrow the   
   government. Instead of Snow White dreaming of her prince and living   
   “happily ever after,” she dreams of seizing power from the queen. Instead   
   of Snow White being awoken by the magic of true love’s kiss, she awakens   
   arbitrarily with no real explanation other than “willpower.” All in all,   
   it makes for a thoroughly un-magical story.   
      
   Even the music didn’t escape the butchery of Disney’s woke censors. Some   
   of the most iconic songs from the original films were cut or rewritten   
   entirely. The famous song “Someday My Prince Will Come” was considered   
   “too problematic” and replaced with an “empowerment anthem.” That “anthem”   
   features Jonathan taunting Snow White about her “princess problems,” the   
   fairy tale equivalent of “checking someone’s privilege.” The songs “Heigh-   
   Ho” and “Whistle While You Work” were still included, but their lyrics are   
   rewritten to be more in line with modern liberal sensibilities.   
      
   The film is so infused with political commentary that one progressive   
   critic hilariously stated, “I don’t know why, but Snow White is totally   
   about lefty infighting.” She notes that the original love story has been   
   replaced with “a tale as old as time – a sheltered Ivy League girl meets a   
   rakish dirtbag leftist who lives with a bunch of roommates and who   
   radicalizes her by negging her about her privilege.”   
      
   By the time the film was released, Disney had lost so much confidence in   
      
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