The Razor
The fourth season of the fantasy-humorous series Disenchantment is coming (here our preview), created by Matt Groening and broadcast starting from 2018: not the masterpiece that everyone expected after The Simpsons and Futurama but a series that, however, it offers some occasional points of interest, especially if you leave out the plot (often confused and at times irritating) and focus on the characters. The gold medal, in this case, must be pinned to the chest of the demon Luci, a sort of Jiminy Cricket on the contrary, a low-level, wingless two-dimensional devil who offers real gems throughout the series. But more than to Luci or the elf named Elf (whose comic depth essentially ends in this), the story should revolve around the anti-conventionality of the protagonist, the nineteen year old Princess Tiabeanie, called "Bean" (who, incidentally, it means: bean). The girl, orphaned of her mother (or so everyone thinks) and with a bad relationship with her father, should represent the politically incorrect distortion of the concept of "rebel princesses", which, fortunately, has undermined the old logic of damsell-in-distress. a
thousand years old and in need of an urgent coat of paint. Maybe, on this topic, that is the girl in danger in the fantasy world, she can come back at a later time: she deserves it.
Sacrosanct therefore that the girl rejects with disdain the fate decided for her by others (arranged marriage, confinement in a gilded cage, boring ceremonial tasks ...) but the peak of anti-conventionality that Bean could reach, and that we hoped it would, given the author's irreverent precedents, instead end up dissolving in a series of clichés, ranging from the aforementioned adolescent anger, to the "bad" frequentations of taverns and taverns that regularly end up causing her mountains of trouble, up to an addiction problem.
The rebel princesses: warriors, heroines and queens
In fact, Bean is a young alcoholic, who drains mugs as if they were full of water, but, under this wait, the ferocious criticism that was expected remains only on the surface. In short, beyond his physical appearance, which commercially winks at the white and long hair indelibly fixed in the fantasy imagination by the Mother of Dragons Daenerys Targaryen, Tiabeanie Mariabeanie de la Rochambeaux Grunkwitz (this is the full name of our Bean). offers no reason to stay in our memory and, above all, fails the task of becoming a true "rebellious princess" as one would have expected (or at least I had) in the hot summer of 2018.
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the princesses who have really changed the rules and done things their way, risking everything in first person, well ... it could only be this:
Princess Fiona
The
protagonist of the animated series Shrek by DreamWorks (which began in 2001 and arrived in the fourth chapter in 2010), Fiona starts mischievously, wasting her life locked in a high tower, placed on the mouth of a volcano and guarded by a ferocious dragon (pardon, draghessa),
waiting for a heroic knight to come to her rescue. Grade: four minus minus. But the girl redeems herself widely when she not only refuses marriage to a sovereign (or presumed such: the ridiculous Lord Farquaad, ruler of Duloc), preferring to give her heart to an ogre rude, gruff and frankly scarcely inclined to personal hygiene, but it even goes so far as to overturn one of the golden rules of classic fairy tales: the kiss does not transform the Beast into Man, but Beauty into Orcess! And, for this very reason, Fiona and Shrek "lived happily ever after", making her one of our rebel princesses.
Furious Empress
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Vaiana di Motunui
Let's not call her Moana: it would be her original name, but here in Italy the "boys" of my generation know perfectly well why she it couldn't be called that! Vaiana Waialiki is the protagonist of the Disney film Oceania (2016): she is the sixteen-year-old daughter of the village chief of a very small and remote Pacific island, intolerant of the strict rule that no one, ever and for any reason, leaves the island and to sail in the open sea. Everything that is in Motunui must remain in Motunui: woe to overcome the coral reef, not too veiled a symbol of the Pillars of Hercules, or of those impassable limits that the human mind builds for itself, preventing itself from overcoming them. No psychological hustlers, don't worry, but it is quite clear that here the struggle is between immobility and dynamism, between passive acceptance of a status quo that has now failed, which leads to death (see the progressive and unstoppable
shortage of food), and a new frontier that it is necessary to explore. Stay and wither or leave and risk. Vaiana hesitates: her head says one thing (and speaks with the voice of her father and ancestors) while her heart says another (and speaks with the voice of her grandmother and, above all, of the ocean). In the end, Vaiana's choice can only be one: to risk everything (not only the life but the destiny of one's own people) and do it practically alone (her traveling companions are substantially useless, including the demigod Maui, who does make us testosteronic boys the right ugly figure!). Vaiana's challenge is more ambitious than any other: she doesn't save herself, she doesn't save her companions, she wants to save the world (because her atoll literally corresponds to her whole world) and build a new future, rewriting its rules. Gold more than deserved for one of the most captivating rebel princesses!
