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But this is Broadway-centric propaganda that papers over the fact that when it comes to artistic movements on the stage, Broadway is usually last to the party. Much has been written about how, through the intercession of Ashman and Menken, Broadway saved Disney, and how Disney returned the favor by opening its theatrical division, restoring the decrepit New Amsterdam Theatre, and helping to turn Times Square into the family-friendly tourists destination it has been for decades (though arguably less so today). Blast that through Disney's unprecedented cultural megaphone and you have the world of 2022, where everything and everyone is just a little bit gayer. This isn't just a testament to the catchiness of Menken's music or the simple perfection of Ashman's lyrics, but their commitment to clear and efficient musical storytelling that is still paying dividends in the artists of today (just ask Lin-Manuel Miranda). My husband grew up thousands of miles away from me on a small Mediterranean island but, like me, he knows every lyric to "Part of Your World," having burned them into his memory through repeat plays of an overworked VHS copy of The Little Mermaid. With just three films, he laid the foundation for the shared culture of children the world over. Like so much that's great about the Disney Renaissance (the period of revival for Disney animation, which began with The Little Mermaid), this perfect marriage of form and function was filtered through the sensibilities of playwright and lyricist Howard Ashman, who collaborated with composer Alan Menken on Little Mermaid, Beauty and the Beast (1991), and Aladdin (1992) - and, like Waters, was a gay man from Baltimore.Ī documentary about Ashman, Howard, has been streaming on Disney since 2020, and it is well worth your time to learn about a man I consider to be one of the most influential Americans of my lifetime. It's a scene straight out of any gay bar.
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She reminisces about better days and dishes out terrible advice in an octopus's garden full of poor unfortunate souls, some of whom can get a little grabby. It wasn't until I was an adult that I learned that Ursula's appearance had been inspired by Divine, terrorist drag queen star of so many John Waters films.īut Ursula's queeniness goes beyond the superficial: Jealous of pretty, young Ariel, this witch nurses her resentment in the company of her only real friends, her pet eels. Larger than life and painted for the gods, she gets all the best lines, with voice actor Pat Carroll knocking them into the next ocean. Ursula from The Little Mermaid (1989) was, of course, my first drag queen. However, when it comes to gay as a culture (a secret society of queer irreverence, overflowing with in-jokes and shared references, propagated by prophets stretching from Oscar Wilde to RuPaul), my first invitation to the party was undoubtedly extended by the gloved hand of the mouse. Human sexuality is complicated and dynamic (certainly more so than the "Born This Way" slogan suggests), and it's ridiculous to assume that a cartoon, or even a whole universe of animated princesses in enchanted castles, could magically transform anyone into a fairy. To be clear: I am not claiming that the Walt Disney Company made me a homosexual. Now, with another rainbow-festooned LGBTQ Pride Month upon us, and with Governor Ron DeSantis treating the Magic Kingdom like his own personal Sudetenland over Disney's opposition to Florida's "Don't Say Gay" bill, I'm re-examining the role Disney has played in the development of my own abundant gayness. What exactly is Elsa commanding you to let go of - your traditional values?
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Be it hidden messages in animation cells or the portrayal of openly gay characters (which led the Pixar film Onward to be banned in much of the Persian Gulf), parents of a more conservative outlook wonder what effect hours of repeat viewing might be having on their kids. Disney has often been the subject of suspicion.