Among the Disney classics, 1937’s Snow White was a watershed moment when Walt Disney established himself as a cultural giant in global media. The film revolutionized animation and entertainment, setting a new standard for the industry.
However, in recent years, Disney has been less than revolutionary, focusing instead on rehashing its intellectual properties into live-action adaptations. The latest of these is Snow White (2025), directed by Marc Webb, which has become the center of cultural wars, largely driven by conservatives who criticize the casting of Latina actress Rachel Zegler in the lead role.
Zegler is a talented and earnest actress, bringing a fresh perspective to Snow White. Her petite frame stands in stark contrast to the towering and statuesque Gal Gadot, who plays the Evil Queen. While Gadot is more recognized for her striking beauty than her acting range, she delivers an entrancing performance in the role. She also proves she can sing—perhaps not as well as Zegler, but enough to carry a campy, soaring villain solo.
Despite the online backlash, Zegler’s portrayal of Snow White is compelling. She infuses the character with depth and determination, moving away from the overly sweet and submissive qualities of the original animated version. Her performance makes Snow White feel more layered and independent, giving the film a modern edge.
In fact, Zegler’s characterization is so strong that the male lead, a quasi-Prince Charming, feels almost unnecessary. While the film remains faithful to its fairy tale roots, it leans into a more contemporary take on the classic story. Whether this adaptation will resonate with audiences or remain overshadowed by controversy, Snow White (2025) at least offers a fresh perspective on a well-worn tale.
The songs are updated with surprising punchiness. The song about “Princess Problems” serves as an excellent dialogue between privilege and hope. Even the classic “Heigh Ho” transforms into both a workman’s anthem and a clever introduction to the different dwarfs. These particular songs highlight the overall drive of this live-action adaptation: returning to what it once was.
It is strange because, while the songs and characters are progressive, the film’s message is about bringing back the good old days of intense and equitable leadership. It’s like Make America Great Again (MAGA) but without the screaming, angry, racist white men. There is something almost humorous about how the ordinary people have a say in the kingdom.
This is, after all, a fairy tale. In the Medieval setting of the original Snow White, there would have been a snowball’s chance in hell of allowing commoners—let alone a young woman—to have any say over their lives. The film presents a version of history where leadership is fair and inclusive, despite the reality of the era it draws from.
The issue of “the fairest of them all” also takes on a new dimension in this adaptation. The phrase does not just echo the script of the 1937 classic but also carries weight in today’s climate of outrage and identity politics. The controversy surrounding the film stemmed from the casting of a Latina actress in a role traditionally associated with snow-white skin.
In the live-action version, they altered the explanation of Snow White’s name, stating that she was named after the snowy day she was born. However, this did little to appease critics, particularly those uncomfortable with the idea of a short Latina actress challenging a beauty queen and Israeli Defense Force (IDF) soldier like Gal Gadot. Many failed to recognize that even in the 1937 animated classic, the Evil Queen was portrayed as glamorous and beautiful, meant to rival Snow White.
But this debate is not truly about aesthetics. The film’s concept of beauty does not center on whiteness but instead on the idea of “fairness”—which, in this live-action adaptation, refers both to being pale and to justice.
You may reach Chong Ardivilla at kartunistatonto@gmail.com or chonggo.bsky.social