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Mickey Jo Theatre
Honestly, given the extent to which this film has become the needless focus of right wing individuals with a remarkable amount of time on their hands and an intense aversion to a 23 year old woman having opinions, I really wanted to be able to come on here and participate in support of it. However, having been to see Disney's new live action version of Snow White in cinemas over the weekend, I regret to tell you that I found it almost entirely unwatchable. Regrettably, my active endeavors to enjoy this film on its own terms were inhibited by a whole host of of problems and I'm about to tell you about all of them. Oh my God. Hey, welcome back to my YouTube channel where I usually discuss all things theatre. But today we are going to be talking about a film, Disney's new live action remake of Snow White and the Seven Dwarves, relevant to my theatre themed YouTube channel or the podcast platform that you may be listening to this on. Because in the tradition of such Disney films, it is a musical combining some but not all of the music from the original 1937 animated film with some additional material by the theatric composers Pasek and Paul, well known for their work both on stage with the likes of Dear Evan Hansen and on screen with the Greatest Showman, but also because the film includes a lot of legitimate theatrical talent, including Rachel Zegler, soon to be seen in the West End playing Eva Peron in the upcoming West End revival of the musical Evita, as well as Andrew Burnap starring on Broadway right now in Othello as Casio, and plenty more in the supporting cast. Hadley Fraser, Tajana Gift and Idris playing some of the bandits, Andrew Bar Feldman and George Salazar providing voices of the Dwarves. Plenty of dance dancing talent. Zoe Athena, I spotted you as well. So while my usual remit is traditionally as a professional theatre critic and not one for film, we're gonna talk about it today because I had some problems, everybody. However, I would still love to hear what you all thought of the film in the comments section down below. Let us know what you thought about Snow White and if you enjoy what I have to say, make sure you're subscribed to my theatre themed YouTube channel or following me on podcast platforms, if that is where you are hearing my voice. In the meantime, let's get into it. Here are the 10 big problems with Snow White and the Seven Dwarves, the first of which I think regrettably is the source material. This strikes me as a project which was always inherently doomed, not just because there is such a sanctity to the original with this first Disney animated full feature length film, which is historic and charming, but also because if we really take a look at its storytelling and the bones of that piece, it's not really that great. There is certainly a reason within the world of Disney, when you look at the projects that have been adapted for the stage, when you look at the ones that have had further development and have resurfaced, that Snow White is never really among those. And also, just as a fairy tale on its own terms, outside of the world of Disney, how many separate Cinderella adaptations have we seen? Because it has a compelling narrative, because there is conflict, because there is tension, because there are goals and there are wants and there is tragedy and there is joy. And Snow White teases aspects of those things, but it's just not as compelling a story structurally. It has also, in this has been and continues to be talked about, kind of problematic when viewed through a 2025 lens. Now, you may roll your eyes at me, but realistically, with the Walt Disney Company promoting everything that they want to for young and family audiences in the modern day, to be telling a story that is at its core about comparative beauty standards and the idea of this young girl coming of age suddenly being more attract aging queen who is obsessed only with her looks and being the fairest of them all, it's always. They're always going to struggle to find a way to tell that story without kind of driving home the message that it's important which of you is hottest, especially when one of those is a hot teenager, especially when aging does feel like a component of this, like the magic mirror has an awful lot to answer for here. And the way that they try and circumvent this is the double meaning of fairest in terms of like, real beauty coming from within. And also Snow White talking about fairness versus like I am, I am fair and that I look really great versus the fairest of them all, the one who is the most like, judicious and kind, etc. All this before we unpack the complicated feelings around seven dwarves living together in a house and working in a mine. In any case, I think to do a new adaptation of Snow White in today's day and age and have it feel progressive and have it feel relevant to a young audience was always an impossible task. And this leads us into the next big problem with the film, which is its tone. Because Snow White and the Seven Dwarves back in the late 30s as an animated feature, very classic, very traditional fairy tale storytelling. Deeply quaint, whimsical. This live Action remake tries to tonally go the way of Frozen and Tangled, with a princess with a little bit more of a contemporary energy with this dynamic between her and the not prince. But the character played by Andrew Burnap, named Jonathan, who is leading a local uprising of bandits, who is speaking out against the queen and her malicious regime, who is caught by Snow White fairly early on stealing potatoes from the palace. The two of them have this slightly cantankerous initial relationship before realizing that they do in fact have feelings for one another. It is very Rapunzel and Eugene, AKA Flynn Rider from Tangled. It's also very Anna Kristoff from Frozen. I just don't feel like that dynamic or really the tone of the whole thing feels at home in the world of Snow White. The two of them feel incongruous. And a song like Princess Problems, which is a new one that Jonathan sings in order to tease Snow White, is a fantastic song and a great lyric, just not one that seems to make a lot of sense in this story or for these characters. We'll talk more about their relationship in just a moment. But it's like she's Giselle in Enchanted, seeing the world through rose colored glasses. She's already very woke within the context of the story to the things being experienced by the townspeople in the kingdom. He doesn't need to tease her about that or about her privilege when she's already acknowledged it from the off. I mean, he meets her as a scullery maid and doesn't recognize who she is. So for him to then act as though she's out of touch with it all, it's very strange foot for us to suddenly get onto. And it's not just in that moment that we feel a little tonally askew. There's lots of od unusual storytelling throughout the thing. There is a moment where Snow White is hiding with the bandits and Jonathan tells her to flee and that they are going to go and fight the guards from the palace who are seeking her. And she says that they're outnumbered and they're never going to win. And then he says, thankfully, I don't fight fair. And then the bandits, you. You would assume that they have something planned here, that they have some sort of like secretly hidden weapons or reinforcements. But having said, like, don't worry, I don't fight fair, they then just all run at them and fight them despite being outnumbered and throw a couple things. But it's. It's very odd. It's unclear whether we're meant to think of the bandits as being just Utterly silly and insincere and kind of incapable of achieving what they're setting out to because it's this modern, silly tone where everyone is a little bit goofy. Even if they are hardened, treasonous political enemies of the crown living in poverty, they still have to be like, oops, I don't have a crossbow. Now. Problem number three, the relationship between SN White and Jonathan, which I think is one of the big things that this film wanted to address. He's no longer a prince. She no longer even sings or thinks about the song Someday My Prince will Come. We don't even hear it teased in the underscore, as far as I noticed. Instead, her dreams and her wishes are about the emancipation of her people who were once ruled by her benevolent parents. And she meets him as this political activist whose own feelings are sort of in line with that. It's bizarre then, that the two of them end up with this Beatrice and Benedict from Much Ado About Nothing esque dynamic, where they are are a little at odds with each other. There is no reason for them to be in opposition after their first meeting when they stumble upon each other again in the forest. Someday my prince will resent me for no discernible reason. I think it's really just a crutch that Disney have been leaning on in a lot of their recent romantic pairings, this sort of playground sensibility to dismiss the concept of love at first sight. Instead, they will have to hate each other at first sight. And that's the only way you know that it's true love. When they could have been spending this time having a spirited conversation about the overlaps and the slight differences in their perspective on political activism. I think that would have been more interesting. Perhaps not for the kids. Spoiler alert. They still fall madly in love with each other. Within hours, they sing this big unearned romantic duet in the middle of a gathering with her dwarf friends and his pointless bandits staring at each other across a party. And suddenly everyone else is disappearing and he's singing, regardless of the fact that he's only recently recovered from an arrow wound to the shoulder. But suddenly it's love. And that means it's ok. Spite of all of these changes and Disney being very careful about the new positioning of her as a character and them as a couple, for him to still kiss her and awaken her from the sleep, from the. The. The death really, that the poison apple has put her in, which, correct me if I'm wrong, is sort of the most controversial thing about their relationship and about the Snow White story, but it still happens. So what was the point of bending over backwards to try and make everything else more modern? Which brings us neatly into the next problem which is with the entire concept of the film's social politics. And don't get, and don't get me wrong, unlike many of the other perspectives that you are hearing loudly on the Internet right now, I don't have a problem with awoke 2025 Snow White. I think some of the most interesting discourse of the film was between the dwarves and the bandits and talking about different ways that they could combat the situation and different routes of action they could take. And there was a line in there somewhere about how if they argue with other it distracts from the real enemy and the real focus. And I think this says a lot about infighting within left wing politics. And this distracting from the bigger issues at play in the US right now, in the UK right now globally. But inherently, I think Disney as a company who I enjoy in both a nostalgic and a current way making something with such a strong anti monarchist within the context of this story, but really sort of a pseudo anti establishment message feels bold for them as a company in terms of some of their historic positions on. I mean currently a lot of troubling things that we're hearing about DEI rollbacks in line with attacks made by the US government on minority groups, a lot of historic criticism for Disney in terms of workers rights. For this film to preach as much as it does about fairness and equality and sharing and everyone having enough, you do kind of have to separate yourself from the memory of who it is that's making the film that's telling you that. And even if you can separate yourself from the Disney of it all, if you immerse yourself entirely in this world and in this story, I do think a of Snow White's personal politics feel a little hollow and performative. Stay with me here because I know I sound ridiculous. When she is confronting the Queen at the end in a ridiculous scene that we're going to get to and she says this was my father's house. I have two problems with that sentence. The first is that it was, you know, both of her parents house and I know that her father outlived her mother and she only recently learned that he did in fact die. But still the other thing is that that feels like a really rehearsed PR sentence from Snow White as a character because it's not a house. Realistically, if we're being honest with ourselves, it is demonstrably a castle One, you know, among that society could stand to be a little more democratized, even if it's not the evil queen living in it. Even when it was the king and the queen and they had all of the townspeople living in front of their castle in this really very small little hamlet. Like, I know that it's a fairy tale, and I know that we're meant to take the happiness of the villagers at the beginning, under the reign of the former king and queen at face value, but the fact that you would occasionally bake them pies doesn't, to my mind, make up for the substantial wealth and class disparity at play here. It still feels a little Snow White, Marie Antoinette. I'm not going to lie. If she really wanted to share everything, then she'd welcome people into the castle rather than take the pies outside. Like, let them. Let them go indoors. And also, and I'm absolutely fixating on tiny details at this point, but there is a moment when she says to the, I guess, radicalized palace guards working for the queen, she tells them about the lives that they once led. And she says, you used to be like a baker and you worked in the bakery, and even when people didn't have a single coin in their pockets, you made sure they were fed. To which I'm hearing, oh, so there was poverty. So you still had, like, abject poverty in the kingdom. I guess the pies didn't fix everything. An acknowledgement. An acknowledgement from Snow White telling on herself that there was still class and social inequality during the perfect reign of her parents. I'm just saying. I'm just putting that right out there. Like, on the one hand, she's like, everything was fine, everyone was happy. On the other hand, couldn't buy bread. And guess what? It is not the responsibility of the baker to give away free bread to fix the palace's problems. Okay, I've said it there. I've said it now let's talk about Snow White next. I enjoyed Rachel Zegler's performance just like I enjoyed her performance on stage in Romeo and Juliet. I don't think either. Compared with the strength of her performance as Maria in the west side Story film, the remake by Steven Spielberg. And I'm very excited to see her do Evita for the reason that I think both west side Story and Evita offer her stronger and more substantial material that play more to her strengths. I think her characterization in Snow White feels constricted, because I think the material is deeply constricted. I think she's this impossible role model. Who has to live up to all of these different ideals, who was created not from a position of authentic storytelling or as an homage to the original character or as a nod to the original Brothers Grimm fairy tale, to which, you know, these things increasingly bear little resemblance, which I don't think necessarily matters. But I think where she was created is around a boardroom table where people are shaping exactly the kind of princess that she would need to be. And they're talking about merchandising, they're talking about how it plays in international markets, and they're talking about the impact of what is a young female character. And it's just overly crafted. I mean, every time we heard those adjectives, the four adjectives on the locket that was given to her by her father made me cringe internally. Because what it felt like to me was the aftermath of a meeting where people had said, well, this is her raison d'etre. This needs to be. The thing that guides her is that she's going to be fair. She's going to be fair to everyone. And that's really a great twist on the fairest of them all. She is a princess who is fair. Fair not in complexion, which she is, but fair in behavior. And then someone else at that table said, oh, okay, okay, okay, I like that, I like that. But should we not be saying something else to young women as well? Should we also not be encouraging them to be brave? Like, it's. It's important also to be brave. And then someone else says, like, I don't. Well, brave kind of overlaps with an existing film. But also, is there something else we can say? Is there something a little more powerful? How about fearless? We want people in challenging times. We want people to be feel. And then true comes into it as well. It felt like it was this conversation. I don't know if anyone has seen the play Kyoto to go back to the theater world. There is an entire scene where people are quibbling over a very small detail in an agreed upon set of legislation, and they are questioning individual adjectives. And this felt to me the whole fearless, brave, fair and true. Whatever the adjectives were, this felt to me like something that had been similarly scrutinized. And my biggest issue with Snow White as character is that despite empowering her with these beliefs and with all of these qualities, she spends so long simply staring at situations. There are many moments in the film where she just sort of silently watches on when the dwarves are fighting any other Disney princess. Take your Giselle in Enchanted as, like, the token Stereotypical Disney princess would be running around saying, boys, no, gentlemen, please don't fight like this. And she just weirdly stares from the side and then watches Dopey get really upset about a bowl landing on his head, that she did nothing to event because she's just holding a broom and looking like she's just eaten strange mushrooms that she stumbled upon in the magical forest, which, you know, by all accounts, she may have. This also happens during my least favorite, and what I think is the most baffling scene in the film, this final castle siege. Not a moment from the original Snow White movie, but something that has been put in here to give Snow White a little bit of agency about the conclusion of the story. She, despite being wanted by the palace guards, returns boldly and brazenly back to the castle. And she rocks up in this red cape and simply arrives, shocking all of the villagers. And does she take this moment to galvanize them into the action and remind them what a beautiful and happy and joyous place it used to be? No. She simply just stands there and waits for, and I believe this is her actual character name, Lonely Girl, to start singing at her. And then Snow White wordlessly walks. All of the people join her to meaningfully walk perhaps 17 steps before coming to a very peaceful halt, whereupon they will do very little to prevent her almost murder by the queen, at which point you will begin to question whether they do have any legitimate love for Snow White as their princess, or whether they just like to watch the drama, which, honestly would be me. But before the attempted murder, having boldly returned to the kingdom, she just has a chat with the queen and like I said, reminds all of the soldiers of the army that the queen established, of the lives that they led beforehand. A conversation that you have to assume she'd had with them previously in the palace. In these years of corruption and tyranny and misery, you have to assume that at one point she was like, keith, what? What are you doing? You used to be. You used to be a. Used to be a children's magician. What's happening? But fortunately, Snow White is not alone, because both the dwarves and the pointless bandits have also hidden themselves among areas of the castle so that they can back her up. And in fairness, despite me calling the bandits pointless, they at least do something here. One of the ban, the one who never had a crossbow and now has a crossbow, shoots a diamond dagger out of the hand of the queen with an arrow. That goes nowhere, as far as I could tell. We neither see it on the floor nor does it actually strike or impale her? Because we can't. We're the good guys, so we can't kill anyone. It's Disney. We can't shoot her in the hand, even. We're not allowed to maim people, but we can fire a crossbow to disarm very neatly and very nicely. The dwarves, meanwhile, do literally nothing. The dwarves all appear to stand in a sort of Avengers assemble of dwarves pose in front of the castle gates, whereupon literally nothing happens other than Snow White chasing the Queen up to the room where she keeps the magic mirror one on one, where it would be very easy at that point for the Queen to murder her, but instead, she simply knackers herself by breaking the magic mirror in a peek of what I believe from Gal Gadot's performance to be rage. And since we have stumbled onto the topic, let's talk about her next. First, let's talk about Gal Gadot as the Evil Queen. Now, I have very few notes in this section. I did write Genuinely Abysmal, and having not seen an awful lot of Gal Gadot's screen work, I don't really have a strong perspective on her as an actress. This is pretty disappointing because there's just so little that she brings to it. I mean, the face card does not decline. I will, I will grant her that. But the characterization falls, falls so flat, especially when the Evil Queen is, you know, dwarves aside, perhaps the biggest personality from that original Snow White film. She's certainly the character who endures the most, if you consider her presence at Disney parks around the world. The Evil Queen is this breakout personality who often goes viral on social media for being sassy and shady to guests. Where was that sort of camp sense of theatricality? Where was the heir of the Grande Dame? Where was any kind of drama? The cape was doing all of the work for her and there was some lovely swishing. And, you know, I liked the way that she was costumed for the most part. I didn't like the one sequined number with the high neck and the long sleeves because it looked a little bit like Disney villain drag night at your local gay bar or something that I've seen a housewife wear on a reunion at some point. Regrettably, I just feel as though she had zero charisma. And there's so many great people that you could have had for this role. Someone said Lady Gaga. That would have been inspired. It seems as though Lady Gaga in recent years has chosen the wrong musical film to be a part of. Anne Hathaway would, would have Been great. It would have been great as a sort of a twist to have an actress like Hathaway, who was playing the ingenue princess type a couple of decades ago, and frame the Evil Queen as someone desperately trying to hold on to that sense of youthfulness, who can't see that she no longer fits that casting bracket. Or someone with a proven track record of playing crazed villainesses like Nicole Kidman, who did such great work in the Paddington movie and would also give you face and that kind of a tight, like, whatever, you know, the cowl. Is it called a cowl? In any case, a pretty irredeemable screen performance from Gal Gad. That lack of chemistry really carried through to her big villain number that she unfortunately did very little with and was staged like a music video. It was very strange. Every time we cut back to her just standing there at the top of the stairs, it felt like Jennifer Lopez was doing the Snow White credits song. Except for the fact that Jennifer Lopez would have moved at least. And we will talk about the rest of the music, but first, I want to expand a little bit on the way that women are framed within this film. Now, despite the evidently careful work in putting all of this together and, you know, the consideration for what the messaging is and what the characters represent, and as you can hear in the script, the really meticulous wording of what it is that Snow White says and exactly how everything is referred to, it is so carefully scripted to within an inch of its life. Despite all of that, I still think the film does a real disservice to women and young girls because. And this is not an exhaustive test of a film's feminism, but it only passes the Bechdel test if you assume that Evil Queen is her government name, which I don't believe it is, but also every other female character that we meet, aside from Snow White and the Evil Queen, are all pretty much tokenized. You have Lonely Girl, who Snow White befriends at the beginning, who re emerges at the end still as Lonely Girl. I believe that is literally her character name. Per the credits, you have the Bandit as played by Dujona Gift, who has no lines, really, but is apparently the object of another bandit's affection, literally objectified. And you have the late Queen, who is consistently and strangely framed as very secondary to the king. Snow White, in an emotional recollection, doesn't say, this castle once belongs to my parents. She says, this is my father's house. And while that probably does stand up to legal scrutiny, especially because this is all taking place, you know, a long time ago in a fantasy realm. And pre Millicent Fawcett and the purse. It doesn't feel particularly authentic to the character that Snow White is, or she hasn't taken the time to really acknowledge her own unconscious bias. I just think that the film has a weird relationship to its female characters. One of whom is simply driven by a maddened pursuit of beauty and the other of whom spends a long time wistfully staring at people and occasionally makes good points. Now, I promised some discussion on the music and even before this film came out, when I heard a little snippet from the trailer, I had concerns and those concerns seemed to be founded and haven't gone away. Because while I enjoy passa contest Paul very much and I think they are very deserving of all of the success that they have had. And I think they really typify the current sound when it comes to contemporary musical theatre. I think not only are they a little bit exposed, but with this they have very much been attached to the wrong project for them. I love a Pasek and Paul score. I think it really, really works in the Greatest Showman. What we didn't need here was the Greatest Snowman, which is what I think this sounds like. Those new compositions are utterly at odds with the pre existing material. The likes of hi Ho. They don't help to convey any kind of traditional fairy tale vibe. There are a lot of brilliant composers who would be able to do that. But Pasek and Paul here just sound like quintessential Pasek and Paul. It sounds a little bit. You will be found at moments. It sounds very much the Greatest Showman. Weirdly, it also sounds a little bit frozen at the very beginning with the song that they then reprise at the end, which by the way, when everyone is dressed in white, all of these villagers and they're holding these wreaths of flowers and they're dancing around and singing where the Good Things Grow. Whatever the melody is there so strikingly familiar of the end of the stage adaptation of Frozen. Right? Like it's. It's very much the same. In short, great songs in there. Real earworms. I love Waiting on a Wish. That's the one that feels particularly Greatest Showman to me. Feels very. A Million Dreams, but just not right for Snow White. Right for a contemporary fairy tale story, which this almost could have been if this wasn't Snow White and the Seven Dwarves. I think I would have really enjoyed it and I think it would have freed them to make many more interesting choices. I think Snow White 1937 may be the biggest problem when it came to Snow White 2025. Finally, then let me talk about the bandits and the dwarves, because I have several times shaded the bandits and said that they were utterly pointless, because they are. And the cynical explanation to this may be in response to the backlash around doing Snow White and the Seven Dwarves and the decision to have them rendered with CGI rather than employing actors dwarfism. But if you're going to then include the bandits and only have enough material to really establish one of them as a character, just have it be one other character. Just have it be an accomplice, a companion. It doesn't have to be a troop of bandits who are all going to mostly say nothing and also do nothing. There doesn't need to be as many of them as there are in the castle siege nonsense at the end for one person to shoot a crossbow with an arrow that disappears at the queen's hand. Like, what are the rest of them doing? And they're just standing there going, yep, bit to the left, bit to the left. Just micromanaging him. What's happening, happening now? When it comes to the Dwarves, I had a lot of time for the Dwarves. I think the Dwarves actually were one of the best things about this film, other than the admittedly beautiful visuals and, you know, everything being put together very nicely, which, you know, it's Disney and this is a huge release for them and they have an enormous amount of money to throw at the thing. So I think it looking fantastic and it being very put together aren't big surprises. I liked the Dwarves. I think where this story and this film work best is when it's highlighting the charm of Snow. Snow White's quick friendship with all of the dwarfs. It's very Dorothy and Friends on the road to Oz. And the emotional climax is when the Dwarves are mourning for Snow White's dead body, which is only last a couple of moments because then Jonathan rocks up to fix everything without consent. But I did like the Dwarf characters in this film. I didn't even think it was Uncanny Valley with the cgi. I thought, you know, it looked pretty great. I didn't have a problem with the visuals. I liked such things as the nod to Dopey with the diamond eyes in the original. On the subject of Dopey, though, I thought Andrew Barth Feldman did a great job and I'm really enjoying his screen career on the back of his stage roles. I think he's such an exciting talent and he really deserves that. But is it A little bit of a disservice to the character of Dopey to kind of have this left turn halfway through the film where it's revealed he isn't really that dopey after all. He's secretly very pensive. He's just shy, which is Bashful's whole thing, by the way. But no, Dopey is really a lot more thoughtful than people give him credit for. He's just misunderstood. Grumpy's sincerely Grumpy, though. And Sneezy isn't misunderstood. He's actually Sneezy, another one we didn't get to see that much. But Dopey in this remake was not really dopey after all. He has this Sister Mary Robert from Sister act moment where he can suddenly speak, and rather than doing so tentatively, which I think would have been a slightly more believable, he is suddenly quite profound. And he has this strong political message. I've literally written down here Dopey Sister Mary Roberts himself into Che Guevara. Maybe he could be in Evita with Rachel Zegler at the Palladium. And finally, and this is a beautifully ridiculous final criticism to end the thing on, there is a moment where Sleepy, the dwarf who is sleepy, hands Snow White some warm milk. And because that's his whole personality trait, and you know, the writing for these characters is guided by those things. Happy is always going to react in a way that's happy, and Bashful is always going to be shy, like, whatever. And that's how you write these characters. And I get it because of that, he hands her this and he says to her, it always helps me sleep. And I lost my damn mind in the cinema. Because you are sleepy, sir. That is your whole thing. When we first saw you in this film, you were falling asleep early in the work day and you were about to yawn backwards onto a floor of stalagmites and die. But you were recovered via pickaxe, very casually by Doc, who did think much of it. Because you do this all the time. You basically have narcolepsy at this point. Already in the film, we have seen you fall asleep out of nowhere several times over. You do not need a cup of hot milk. That's just such a ridiculous thing to say. Why would he need warm milk to make him fall asleep? He is sleepy. That's his whole thing. That's his entire thing. He's not struggles to sleepy. That would be a crazy name for a dwarf. Honestly, it's as though no one's really asking these very important questions. And ridiculous as that may seem, I do think it's sort of intense, indicative of the film's problems. I think it's over considered and yet under thought. At the same time, I think this feeling of filmmaking by committee and the idea of remaking something out of obligation or perhaps out of retaining copyright, I don't know, hasn't led to a piece of art here that is authentic or meaningful, or has a particularly strong story to tell, which is always going to be the most important thing. There are things that I liked about it, but they were consistently in spite of much, much bigger problems. In any case, those have been my thoughts about the Snow White and the Seven Dwarves. It remains undeserving of the hate and the backlash that it and its star Rachel Zegler are getting. I think all of that is completely ridiculous and were I biowell, I would be wishing that I could advocate for the film more strongly. Unfortunately, I just don't think it's great. But as always, I would love to know what you all thought. Let me know in the comments section down below. Particularly if you disagree with any of the points that I have made. Let us all know why. In the meantime, thank you for listening Listening to this film review, I will be back to talking about theatre, but there might be some more films on the horizon this year, including the hugely anticipated release of Wicked Part 2. Make sure you're subscribed and or following me on podcast platforms so you don't miss my coverage of that, as well as all of the West End and Broadway shows I see in the meantime, including Evita, possibly starring Rachel Zegler and Dopey. Thank you for listening. I hope that everyone is staying safe and that you have a stagey day for 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a Stagey Day. Subscribe.