![]() ![]() Meanwhile, Cinderella mocks fat people with regressive stereotypes. The film also hits one of the self-doubting stepsisters with body-positivity messages, but the filmmakers notably target the skinny one (Charlotte Spencer). Even magic has its limits.” See, it’s funny, because it’s impossible to fight or even disagree with painful gender norms! ![]() Even her “Fabulous Godmother” (Billy Porter) recognizes that, declaring, “Rich people… will change your life!” He also insists she wear uncomfortable high-heeled glass slippers, because “Women’s shoes are as they are. Cinderella’s success as a dressmaker comes because of her proximity to wealth. But the narrative undercuts these platitudes. Lip service about feminism abounds in Cannon’s script, with speeches about self-love, social justice, and standing up to men in power. She’s a one-note joke, but it’s funnier that she’s meant to be inspiring. Lucky for the kingdom, his sister Princess Gwen (a plucky Tallulah Greive) is constantly spouting progressive proposals (Sustainable energy! Welfare programs!) when she isn’t lurking about the castle, scrounging for a literal “seat at the table.” However, that’s all she does. He has no ambition beyond attaining Ella, which is not exactly a fairy-tale romance by today’s standards. Does he believe in her work, or is he just hot for her? Who’s to say? He’s as poorly developed as he is blandsome. Then he turns into pick-me boy, dressing down to impress and buying a gown from Ella to win her attention. Prince Robert (Nicholas Galitzine) has no interest in politics, becoming king, or much of anything beyond “gallivanting with his band of merry bros.” At least, until he sees Ella. Remember that, kiddies! Learn nothing from the burnout of Millennial hustle culture!īut fret not, Ella still hooks the prince, though he’s not all that. Because your passion means nothing if you can’t exploit it under capitalism. The focus on Ella’s dressmaking isn’t on the pride it brings her, but on how she could make money at it. More troubling, however, is how Cannon trades in the validation of hooking a prince in favor of the validation of commercial success. ![]() Even the big ballgown that’s meant to be a moment of style spectacle - and is described in the film as “pure fantasy” - looks at best like a pricey prom dress. The fashion she creates is ugly, full of frills and flourish with no sense of sophistication. Pop star Camila Cabello headlines as Ella, who dreams of leaving behind her basement apartment and demanding step-family to become a fashion designer with her own shop. However, she also created the forgettable Netflix series Girlboss, so perhaps it isn’t surprising that her idea of female empowerment already feels vintage. Writer-director Kay Cannon thrilled critics and audiences with her debut Blockers, which tells a raunchy but heartwarming story of parents and teens. In execution, Amazon’s Cinderella is absolutely unwatchable. But what if Cinderella’s evil stepmother ( Frozen’s Idina Menzel) were more of a Jane Austen mom, worried that marrying rich is the only path for a woman’s happiness? What if the stepsisters aren’t ugly, so much as insecure? What if Cinderella doesn’t seek salvation through some posh prince, but through her own creative desires? On paper, this sounds promising. You know the story: Long ago in a far-off kingdom, an obedient and beautiful young woman is bullied by her evil stepmother and ugly stepsisters, then escapes because of a fairy godmother, a glass slipper, and a charming prince. But this anachronistic re-imagining of the story doesn’t remotely understand the audience it’s talking down to. Cinderella by way of TikTok has arrived, with a new, non-Disney musical adaptation of the classic fairy tale on Amazon Prime Video. ![]()
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