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Parents looking for a radiant trail on their approved childhood stories need search no further than HBO’s multicultural piquant series “Happily Ever After: Fairy Tales for Every Child,” available in burly on DVD or on inquire from HBO Family. Designed for the 12-and-under-crowd, the award-winning series offers fresh reinterpretations of familiar classics, placing minority characters in the lead roles, and shifting the settings to mediate a diversity of world cultures. Cramped Red Riding Hood gets transported to used China, The Emperor’s Modern Clothes is reimagined in feudal Japan, Rapunzel gets a Cajun makeover, and Snow White becomes a Native American princess named White Snow. Narrated by Robert Guillaume and boasting such A-list roar talent such as Will Smith, Denzel Washington, Whoopi Goldberg, Rosie Perez, Chris Rock, and Samuel L. Jackson, among others, the point to adds a unique emphasis on tolerance, view and cooperation to each story’s used honest lesson.
Deftly avoiding the twin pitfalls of racial caricature and bland political correctness, the note manages–at its best–to fuse the positive flavor of each culture into its storytelling, without sacrificing the timeless qualities that have kept these tales alive for generations. Of course, as with any series, some episodes succeed better than others, so here I will offer a more detailed critique of three in particular to aid as a representative snapshot.
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The first, entitled “The Princess and the Pauper,” takes Effect Twain’s account of improper identity and gives it a feminist twist. Olivia is the pampered princess of Peachburg, a prosperous kingdom with a shadowy underbelly–the crime-infested slum known as the Peach Pits, home of the virtuous Zoe. Encouraged by her loving mother, Zoe dreams of a better life outside the ghetto, but her degenerate father keeps her down, telling her, “You’re unprejudiced a broke nobody like the rest of us.” A chance encounter in the town square leads to a friendship between Zoe and Olivia, who realize that they are proper doubles. Switching clothes on a lark, the girls raze up displaced from their respective homes, and during their adventures each learns necessary lessons about equality and human dignity. Aside from the class issues explored in this episode, there is also a much range of ethnicities on reveal, although accelerate relations are not addressed explicitly. Olivia and Zoe are both shadowy (and ostensibly “American,”) but Olivia has a Persian father and an African mother, and the townspeople pictured are white, sad, Hispanic, Asian, and Arabic, all shown living harmoniously. The episode also delicately addresses the death of Olivia’s father, so parents of younger viewers should be prepared to discuss the subject further after the credits roll.
The second episode, called “The Steadfast Tin Soldier,” tells the fable of a young wheelchair-bound girl named Imani, who lives with her grandmother, and prefers the company of her fill imagination to that of other kids her age. One day, her grandmother gives her a box of toy soldiers made by her grandfather. One soldier in particular is missing a leg where her grandfather ran out of material–”That’s fair the map that one was made,” the grandmother says. Imani dubs the toy Goldie, and gives it a location of honor among her other playthings. Once everyone is asleep, the toys near to life and interact with one another, and Goldie finds herself ostracized by the group, except for a glowing African doll atop Imani’s bookcase. Sure to get his affections, Goldie begins her long climb upward, facing a series of obstacles along the intention, including the scheming of a psychotic Jack-in-the-box, and the musical taunts of a mean-spirited trio of Barbie dolls, who command her, “You don’t stand a chance.” Goldie perseveres, however, with the mantra, “Determination is all I need,” and eventually reaches her destination to become the hero of the toyroom. Imani wakes up to collect Goldie locked in a dance with the African doll, decides to conclude feeling sorry for herself, and is empowered to leave the house to form recent friends.
The third episode is a resetting of the sage of Robin Hood against a Mexican background. Entitled “Robinita Hood,” the episode incorporates a superior deal of Spanish into the record of the valorous heroine who “steals from los ricos and gives to los pobres.” Together with her band of Merry Chicas, Robinita Hood terrorizes the irascible sheriff and fights for the underprivileged, fostering ideas of charity as well as female empowerment. Parents may not like the employ of violence as a solution to conflict that is prevalent in this episode, and although no gets harm, plenty of money is stolen by the protagonist, albeit for a superb cause. A discussion about injustice and what can be done about it would probably be useful after viewing this one with younger children.
All in all, this series does an admirable job of presenting an alternative to the typical Eurocentric heroes of the cartoon landscape. Bewitching and educational, with obvious lawful lessons imparted in each episode, “Happily Ever After” is a fun and effective scheme to start children’s eyes to the diversity of new life, and to open them thinking early about respecting and appreciating other cultures. Unfortunately, HBO stopped producing recent episodes of the series in the early 2000s, but families can peaceful salvage the explain in various formats. I would give the series a solid A-minus, and recommend that parents or teachers view this with their children and wait on a dialogue about the issues explored.
Buy,Download, Or Stream Happily Ever After Collection: Fairy Tales For Every Child! Click Here
This collection gives a fun and unusual lumber on classic fairy tales. I care for the fact that the characters describe a vast range of cultures and ethnicities.
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