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How Disney’s Original ‘The Little Mermaid’ Perpetuated the White Mermaid Image

Disney’s 1989 animated interpretation of The Little Mermaid brought the Hans Christian Andersen fairy tale alive through Ariel with her manufactured White beauty that has become the trademark for mermaid images. But one book made me realize mermaids can be Black and any other complexion our imaginations want us to see.

It was Sukey and the Mermaid written by Robert D. San Souci and illustrated by Brian Pinkney. Sukey is forced to work on the farm by her stepfather, but she befriends a Black mermaid, Mama Jo, who gives her hope her life can be better. I loved the story, reread the book over and over. The mermaid in this story was Black and older with long silvery strands and an undersea attire that looked like armor made of gold. Ariel’s juvenescence may have enhanced her magic, but Mama Jo possessed a more sage magic, a majestic presence.

Black mermaids conquered conversation on July 3 at the news of Halle Bailey from Chloe x Halle and Freeform’s Grown-ish nabbing the part of Ariel in the Disney live action remake. The four-day Fourth of July weekend prolonged the uproar on social media where supporters who applauded a Black Ariel clashed with those who slammed a Black Ariel with the argument she can only be White due to the author’s Danish roots.

Since I’ve been working on a young adult novel about Black girls cosplaying as nightclub mermaids, I’ve noticed Disney’s imagery has even warped the marketplace for mermaid-centric merchandise, further emphasizing these mythical creatures can only be accepted as White.

Sukey and the Mermaid fell into my hands after my Ariel doll disappeared. Ariel, with her ketchup red hair and shimmery purple bra and green fin, was found under the Christmas tree when I was five-years-old. I would stick her under the faucet for her to swim in the ocean I created in the sink, put her beside my head at night in bed. Then she went missing.

Me and Ariel on Christmas before she met her untimely demise.

Years later, I learned Ariel was tossed in the trash. My mother despised the attention the only White doll she would ever buy me received over my Black dolls. The Black doll experiment conducted by psychologists Dr. Kenneth Clark and Dr. Mamie Clark in the 1940s found the participating Black children preferred White dolls and used more positive adjectives to describe them. This informed how my mother would raise my sister and me with only Black dolls since she knew a time when she could only get White dolls.

But she caved with Ariel, since I was obsessed with that mermaid. Ariel topped two birthday cakes in a row and became an epic Halloween costume complete with the shimmery green fin. Eventually Ariel was replaced by book mermaid Mama Jo and my Disney obsession moved on to brown-skinned Jasmine in Aladdin.

The controversy around Halle’s casting will hopefully die down as we accept a new image of a mermaid who could be reflected in more stories, products, and images for girls and women of various complexions.

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film reviews

‘The Sun Is Also a Star’ Sees Mediocre Reviews: Is Multicultural YA Viable on Silver Screen?

Nicola Yoon’s best-selling young adult romance The Sun Is Also A Star transformed into a movie this past weekend, but the critics didn’t seem to love it. Now with a score of 52% on Rotten Tomatoes, this story about interracial love bombed at the box office, so how does that impact other multicultural YA novels blossoming into films?

So far, the movie grossed $2.5 million, significantly below the anticipated $6 million to $12 million from 2,100 theaters, according to Variety. Deadline Hollywood said the film’s ultimate box office return on its $9 million production budget looks dismal with even the author’s debut novel-turned-movie Everything, Everything opening at $11.7M in 2017 and finishing with almost $62 million globally.

The movie follows the novel well with Natasha Kingsley (Yara Shahidi of Grown-ish) heading to an immigration lawyer to save her family from deportation scheduled for the next day when she bumps into Daniel Bae (Charles Melton of Riverdale), who believes their meeting is kismet. As science-minded Natasha fights Daniel’s determination to make her believe in love and fall in love with him, they’re savoring every moment they can together in New York City. With the cinematography expertly showcasing the city, the marshmallow fluffiness of love that readers adored falters a bit onscreen.

And reviewers emphasized that. Entertainment Weekly gave the movie a C while it gave the book in 2016 an A with having the exclusive of the cover reveal. Separate reviewers graded the film and book, but it’s jarring to see such variations for the same media outlet.

The New York Times editors added the book to its curated top children’s books of 2016. “The story and its trappings feel a little generic, the dialogue studiously bland and the characters and their problems curiously weightless, in spite of gestures in the direction of real-world issues,” A.O. Scott wrote in the film review. And “generic” pops up in the headline for the review as well.

Potential moviegoers also saw casting issues with both stars being biracial when Natasha and Daniel were not in the story. Yara is half-black, half-Iranian when Natasha is fully Jamaican, a contrast visible in the film where the actors representing Natasha’s family have a darker complexion. Charles is half-white, half-Korean when Daniel is fully Korean, another contrast visible with the actors playing his family look fully East Asian as his attractiveness is mentioned. It’s the same issue that reared its head in the casting of Nick Young’s character in Crazy Rich Asians.

How this successful novel became an unsuccessful film may not influence future multicultural YA adaptations, but the magic of a book is hard to capture, and casting and script-writing obviously plays a role in the high-profile critiques and bringing the key audience into theaters.