Disney’s Snow White (2025): Disney’s Folly, Redux?

They once derisively called Walt Disney’s passion project “Disney’s Folly”. In 1937, bringing Snow White to the big screen as the first full-length animated feature seemed like a ludicrous risk—until it became a groundbreaking success. Fast forward nearly nine decades, and Disney is betting on Snow White once again, this time as a lavish live-action remake. But instead of unanimous excitement, the project has encountered a gauntlet of controversies and cultural debates. When the new film’s star boldly declared that this Snow White “won’t be dreaming about true love” and even joked that the original’s Prince “literally stalks her”, it became clear this wasn’t the same fairy tale audiences grew up with. In the months leading up to its 2025 release, Disney’s Snow White has become a flashpoint—raising questions about how to honor a beloved classic while reinventing it for a new era, and testing whether a modern audience will accept a fresh take on the fairest of them all.

Reimagining Snow White was always going to be an exercise in balance. The original Snow White and the Seven Dwarfs (1937) wasn’t just a hit; it created the mold for animated films. Director Marc Webb, tasked with helming the remake, emphasized that it was “really important” to honor the DNA of the classic while also updating its mythology for today’s world. “The original Snow White didn’t break the mold … it created the mold,” Webb noted, acknowledging the film’s iconic status. At the same time, he saw “an opportunity to re-tell the mythology to reflect the times that we’re in,” arguing that all good stories evolve with each new telling. In practice, this philosophy meant a movie that would pay homage to Walt Disney’s groundbreaking vision—even as it made significant changes to characters and story to resonate with contemporary values.

Development on the live-action Snow White began as far back as 2016, a sign of Disney’s confidence that the timeless fairy tale could be updated. Songwriters Benj Pasek and Justin Paul (of La La Land fame) were brought in to craft new musical numbers. Screenwriter Erin Cressida Wilson penned the script, with acclaimed filmmaker Greta Gerwig contributing additional ideas to the screenplay. The studio clearly aimed high: this would be a lavish musical fantasy, rooted in the 1937 film’s legacy but not bound by it. As production ramped up, Disney’s challenge was set: how to make a 1930s fairy tale feel fresh in 2025 without losing the charm that made it a classic.

One of the earliest decisions—and controversies—was the casting of Snow White herself. In June 2021, Disney announced 20-year-old Rachel Zegler would portray the iconic princess. Zegler, a breakout star from West Side Story, seemed in many ways the perfect choice: a young actress with a strong voice and the ability to embody innocence and strength. She even came with a glowing recommendation from director Steven Spielberg, who had worked with her and praised her talent. However, the choice quickly became a flashpoint. Zegler is of Colombian and Polish descent, and her casting as “Snow White” – a character long depicted (and even named for having skin “white as snow”) – ignited a racist backlash in some corners of the internet. Detractors argued Disney had strayed from the source material by choosing an actress of color to play a role rooted in a German fairy tale.

Disney stood by its choice, and many fans and creators defended Zegler, pointing out that the essence of Snow White lies in her character’s purity of heart, not the color of her skin. In fact, the filmmakers took steps to address the character’s name in-story so it wouldn’t be seen as literal. Zegler revealed that, in this version, the princess isn’t called “Snow White” because of her complexion at all – instead, the name originates from a childhood story in which she survives a harsh winter storm as a baby. “The king and queen decided to name her Snow White to remind her of her resilience,” Zegler explained. It was a deliberate tweak to acknowledge the classic description while refuting any notion that a Latina actress couldn’t embody the role. This kind of creative adjustment signaled how Disney tried to preempt criticisms and root the remake’s choices in the film’s narrative logic.

Despite the backlash, Zegler embraced the responsibility of reinterpreting Disney’s first princess. From the outset, she made it clear that her Snow White would be more assertive and independent than the 1937 portrayal. “Snow White is no longer just dreaming about a prince coming,” she said in one interview, emphasizing that the character has larger aspirations than romance. Even before substantial footage was released, Zegler’s commentary set the tone for how this adaptation would differ – a Snow White for a generation that expects its heroines to take charge of their destinies.

Perhaps no aspect of the remake proved as contentious as the depiction of the Seven Dwarfs. In the original animated film, Snow White’s seven dwarf companions are beloved characters, each with a distinct personality and a dose of comic relief. But as early as January 2022 – long before any trailer or poster – actor Peter Dinklage ignited a debate about whether those characters should even exist in a modern retelling. Dinklage, who has dwarfism and has portrayed fantasy dwarfs himself on screen, did not mince words. He called Disney “hypocritical” for celebrating progressive casting in Snow White (a Latina Snow White) while “still making that f—ing backwards story about seven dwarfs living in a cave together”. To him, revisiting a 19th-century fairy tale trope of dwarfs could reinforce outdated stereotypes, and he challenged the studio to “take a step back” and rethink the whole concept.

Caught off guard by the public criticism from a prominent actor not even involved in the film, Disney quickly responded. A spokesperson issued a statement assuring that the production was “taking a different approach with these seven characters” and was consulting with members of the dwarfism community to avoid reinforcing stereotypes. In essence, Disney acknowledged the concern and hinted that the seven companions in this version would not be a carbon copy of the 1937 characters. For a time, secrecy surrounded what exactly this “different approach” would be. The studio refrained from announcing dwarf character casting, fueling speculation. Rumors swirled that the film might replace the dwarfs with a diverse band of magical creatures or human outcasts. Indeed, leaked photos from the U.K. set in 2023 showed Snow White accompanied by a mix of actors of various heights and ethnicities, suggesting a major departure from the classic seven miners concept.

Then came the twist: Disney apparently reconsidered once more. In October 2023, along with news that Snow White’s release would be delayed, the studio unveiled a first-look image of Snow White in the forest cottage — and there, flanking her, were seven familiar diminutive figures, complete with floppy hats and colored tunics. The dwarfs were back, at least in appearance. As it turned out, Disney had decided to use CGI to portray the seven characters in a style faithful to their 1937 animated designs. Each would have the classic name – Doc, Grumpy, Happy, and so on – and cartoonish proportions, brought to life with modern visual effects rather than actors in costume. This decision managed to alienate some critics and fans on both ends of the spectrum. Many who had been concerned by Dinklage’s remarks were relieved that the depiction wouldn’t rely on outdated caricatures of real actors with dwarfism. But others found the CGI models jarring. When the first teaser trailer (see below) finally debuted, viewers commented that the dwarfs looked oddly plastic, sitting somewhere in the “uncanny valley” between realism and animation.

Stuart Heritage of The Guardian bluntly remarked that the new dwarfs “look like someone snuck into Disneyland and grabbed the statues” from the original ride. The mix of skepticism was evident online: the Snow White teaser on YouTube racked up an enormous number of dislikes (reportedly nearly one million against only 80,000 likes in its first weeks). Clearly, Disney’s attempt to both sidestep stereotype and preserve nostalgia was walking a tightrope. The company had hoped to avoid offense by not casting actors with dwarfism in what could be seen as clichéd roles – yet by rendering the dwarfs as CGI replicas, they invited a different kind of scrutiny about visual authenticity and creative laziness. It was a no-win situation: a real-life ethical dilemma translated into animation pixels. Tthe seven dwarfs had become seven headaches for Disney’s PR team.

If the controversy over the dwarfs was a debate about representation, the Snow White story itself became a debate about messaging. From the moment Rachel Zegler started speaking publicly about the film, she emphasized that this was not your grandmother’s Snow White. Gone was the idea that the princess’s ultimate goal was to find true love with a dashing prince. “It’s really not about her love story at all, which is really, really wonderful,” Zegler said of the remake. Early on, Disney had revealed that the traditional Prince Charming character was entirely replaced by a new character named Jonathan, played by actor Andrew Burnap. This Jonathan is not written as a sweeping rescuer but rather “a young man eager to defy the monarchy” who meets Snow White and becomes an ally in her quest. In other words, he’s a supporting player in her story, not the other way around.

At 2022’s D23 Expo – a Disney fan convention – Zegler candidly described the original Snow White as “extremely dated” in its view of women, noting that the 1937 heroine spends much of the film pining and waiting for a man. In the new film, “fairest of them all” no longer refers to looks, Zegler explained, but to being the most just and capable leader. This Snow White is being positioned as a potential queen in her own right, someone who dreams of saving her kingdom from tyranny rather than dreaming of romance. Indeed, in one of the trailers, an intense exchange shows Snow White rallying the dwarfs to take back the kingdom: “The Queen stole everything from us,” she declares. “I’m going to need your help. It’s time to restore our kingdom.” This is a far cry from singing wistfully about someday meeting a prince.

The reaction to these narrative changes was, unsurprisingly, divided. Many modern audiences – especially parents of young girls – welcomed a feminist update to the fairy tale. Disney’s own recent history supports this direction: from Frozen to the live-action Mulan, the studio has been progressively steering its princesses away from the passive damsel archetype. However, a vocal contingent of fans and commentators felt that Disney had gone too far in the other direction. After Zegler’s D23 remarks circulated, some accused her and the filmmakers of disrespecting a classic under the guise of “wokeness.” Snow White was already a kind, brave character and that one could empower her without denigrating the original. Disney is bending over backwards to make a point about female empowerment, to the detriment of charm and romance.

Even the son of one of the original 1937 film’s directors weighed in. David Hand Jr., whose father co-directed the animated Snow White, blasted the remake as a “disgrace” and said Walt Disney would be “turning in his grave” at the changes. “They change the stories, they change the thought process of the characters…They’re making up new woke things, and I’m just not into any of that,” he told The Telegraph in an interview heavy with nostalgia and frustration .

Faced with this backlash, Zegler eventually tempered her public comments. In October 2024, as online negativity crescendoed, she expressed regret that her words had been taken “out of context” or had not landed as intended . “It made me sad that it was taken in such a way,” the actress told Variety, explaining that she never meant to insult the original film or its fans. Disney executives, too, seemed to recognize that they had to reassure the fanbase. They repeatedly emphasized that the new movie does honor the original’s legacy – pointing to elements like the iconic costume (Snow White’s blue-yellow-red dress is lovingly re-created), the inclusion of the famous poisoned apple, and musical nods to classic songs. As Webb put it, they sought a “delicate balance” between the 1937 classic and a story for a new generation. Striking that balance would determine whether audiences left the theater feeling nostalgically charmed, or indignantly alienated.

Beyond the creative choices, Snow White (2025) found itself swept into the broader cultural crossfire of the moment. By sheer happenstance, the film’s two lead actresses became lightning rods for political controversy on social media. Gal Gadot, cast as the Evil Queen, is an Israeli actress who has been outspoken in her support of Israel. Rachel Zegler, by contrast, has publicly voiced support for Palestinian causes and didn’t shy away from criticizing U.S. President Donald Trump.

In late 2023 and 2024, as real-world conflicts and elections raged, these personal stances led to bizarre calls for boycotts of Snow White from opposite extremes. After Gadot and Zegler’s divergent views on the Israel–Palestine conflict became known, hashtags trended with some accusing Snow White of being “pro-Israel propaganda” and others labeling it “anti-Israel,” depending on which actress they focused on. Meanwhile, far-right commentators seized on old anti-Trump tweets from Zegler (she bluntly posted “F— Donald Trump” during the 2024 election) to urge Trump supporters to shun the movie. The irony that these grievances had nothing to do with the film’s content didn’t matter; Snow White had become a target in the ongoing culture wars, where any high-profile project can be caught in the political crossfire.

Disney tried to stay above this fray. The studio’s marketing for Snow White made no mention of politics, instead focusing on familiar imagery – the Evil Queen’s iconic lines, the magic mirror, the beloved dwarfs’ march. Gadot and Zegler themselves avoided commenting on the boycott noise in any official capacity. Still, the narrative was out there in the media ecosystem: this family film about a fairy tale princess was being dunked on by pundits over Israeli geopolitics and American partisan divides. It was an absurd situation, and one that highlighted the perils of modern PR. In 2025, even a movie about singing dwarfs and a wishing apple isn’t immune from X-fueled polarization.

And then there was the sheer weight of expectations. As Snow White neared release, it carried not just the baggage of controversy but the hopes of Disney’s bottom line. This film was expensive – even more than typical Disney fairytale fare. By late 2024, reports surfaced that the budget had ballooned to around $250 million (some sources say as high as $269 million) . Extensive visual effects work (those CGI dwarfs don’t come cheap), reshoots, and pandemic-era production challenges all contributed to the hefty price tag. In Hollywood accounting, a film often needs to gross at least twice its budget to break even, once marketing costs are included. That meant Snow White might have to clear half a billion dollars just to climb out of the red. Disney had enjoyed massive success with live-action remakes like Beauty and the Beast (2017) and Aladdin (2019), but it also tasted disappointment with the likes of Dumbo (2019) and Peter Pan & Wendy (2023). The stakes for Snow White were as high as the tall tales in its storybook.

Early box-office tracking didn’t exactly spell “happily ever after.” Long-range forecasts projected an opening weekend in the range of $60–70 million in the U.S. . Under most circumstances, that would be a solid start for a non-sequel fantasy film. But for Snow White, such numbers raised eyebrows given the film’s cost and the central place of the Snow White character in Disney lore. Internally, Disney surely hoped that nostalgia and the Disney brand would drive families to theaters en masse. Yet the cloud of online negativity and mixed fan enthusiasm created uncertainty. We wonder whether this would be the film that finally makes Disney pump the brakes on remakes. After a decade of remaking animated classics almost annually, Disney is discovering that audiences might be experiencing remake fatigue – especially as the new versions do not deliver the same magic as the originals.

On March 12, 2025, Disney held the world premiere of Snow White at the historic Alcázar of Segovia in Spain – a castle said to have inspired the one in the original animated film. Rachel Zegler walked the red carpet in a gown that paid homage to Snow White’s iconic colors, and Gal Gadot posed regally with an apple in hand. But the usual pomp had an edge of caution. Owing to the recent actors’ strike and the swirl of controversies, Disney opted for a pared-down promotional campaign. The cast and crew gave fewer interviews; the marketing focused tightly on imagery and nostalgia. It was as if Disney wanted the film itself to speak louder than the discourse around it.

Now, as Disney’s Snow White (2025) opens to the public, the company finds itself in a situation oddly parallel to Walt Disney’s in the 1930s. Back then, many thought Snow White would fail – that audiences wouldn’t sit through a feature-length cartoon. Walt proved the naysayers wrong, delivering a timeless hit that moved viewers to tears and laughter. Today’s Snow White faces a different kind of skepticism: that audiences won’t embrace a revisionist take on a cherished story. The magic of the original can’t survive so much modern intervention. Will Disney prove us wrong again.

In the end, the success of Snow White (2025) will hinge on whether the filmmakers indeed found that “beautiful and delicate balance” between honoring the past and moving with the present. For Disney, it’s more than just one movie’s fate at stake. A triumphant Snow White would vindicate the strategy of updating fairy tales to fit evolving social norms, showing that classic characters can thrive in new contexts. A failure commercially might signal that even Disney’s magic has its limits when tampering with the foundation of a legend. Mirror, mirror on the wall, will the gamble pay off after all? The answer will shape not only Snow White’s legacy, but perhaps the course of Disney’s storytelling for years to come.

Regardless of the outcome, one thing is certain: this isn’t 1937, and happily-ever-after isn’t guaranteed by a spoonful of sugar. It has to be earned, through creative vision, cultural resonance, and a bit of that old Disney wonder. In trying to craft a fairy tale fit for the 21st century, Snow White (2025) has already done something the original never did—become a catalyst for conversations about representation, feminism, and the value of nostalgia. In its struggle to please everyone, the film has inadvertently held up a mirror to society’s own divisions and desires. And just like the famous mirror on the wall, the reflections it shows us aren’t always comfortable to face.