Tuesday, May 21

Snow White

The captivating Ms. Rachel Zegler, dappled in the spotlight of Disney’s latest adaptation of the eternally beloved Snow White, with a dismissive flutter of her eyelashes, professed that her portrayal of the iconic princess will not find resolution in the warmth of a lover’s embrace, but rather in the forbidding realm of leadership. There’s a discordance to this revision that sets one’s teeth on edge. If given the choice between the sublime intoxication of love and the inexorable demands of leadership, which would you elect?

The majority of our brethren, save for those bereft of empathy and warmth (sociopaths), would undoubtedly gravitate towards the enrapturing delights of love. While my own romantic history might resemble a more pitiful sonnet than a passionate ode, the prospect of leadership — an insistent call to arms of control and influence, more often than not predicates a life filled with unrelenting stress, isolation, and an unforgiving spotlight.

Doesn’t this deliberate reimagining of a classic tale stir a sense of disquiet in your soul? A narrative that once exalted the transformative power of love, has been usurped by a rallying cry for supremacy. We have shifted from a tale brimming with joy and hope, where an innocent heroine finds love, to a stern narrative that reveres the pursuit of power and authority. The original fairy tale held Snow White as a beacon of innocence, vulnerability, and a testament to the triumph of love over spite and malice. Supplanting this with a quest for leadership appears to push the narrative down a decidedly more sinister avenue.

Indeed, this mention of ‘leadership’ is steeped in ambiguity, tossed around with a nonchalance as if it were a universal antidote for all societal ills. What, one wonders, is this model of leadership they envisage? To where does this narrative intend to guide our young women, and our society at large? The more sceptical amongst us might suggest it’s pointing unerringly towards the shiny, towering edifices of the corporate world.

The irony of this shift is almost laughable: the corporate world, once considered the arch-nemesis of self-proclaimed Marxists, is now increasingly perceived as a convenient Trojan horse by the newly risen ‘faux-Left’. These modern warriors, it appears, have found within the corporate world an unlikely ally, a dependable vehicle to enforce their particular brand of illiberalism.

There’s an alarming contradiction playing out here: a clash between the revered principles of the Left of yore and the contemporary thirst for power and influence, wrapped up in the shiny packaging of progressivism. The struggle for equality and workers’ rights, once the foundation of Leftist politics, is gradually being eclipsed by an insatiable desire to ascend the corporate ladder and seize the corner office. The unfortunate caveat here is that the working class, for whom the Left supposedly advocates, can ill-afford this new vision. One requires a certain privilege to even step onto the first rung of this ladder.

In a society entranced by the allure of power, we risk overlooking the transcendent potential of love. Is there anything more emancipating, more fundamentally human, than the capacity to love and be loved in return? Maybe Disney and Ms. Zegler should take a moment to reconsider the message they’re broadcasting to the impressionable minds destined to absorb this film. The mesmerising appeal of leadership might sparkle with an enticing shimmer, but it’s far removed from the magic of fairy tales.