Word: shrek
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Dates: during 2000-2009
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...Shrek didn't remake fairy tales single-handed; it captured, and monetized, a long-simmering cultural trend. TV's Fractured Fairy Tales parodied Grimm classics, as have movies like The Princess Bride and Ever After and the books on which Shrek and Wicked were based. And highbrow postmodern and feminist writers, such as Donald Barthelme and Angela Carter, Robert Coover and Margaret Atwood, used the raw material of fairy stories to subvert traditions of storytelling that were as ingrained in us as breathing or to critique social messages that their readers had been fed along with their strained peas...
...gorgeous, fanciful book. It's also a kind of recursive meta-fiction that I didn't encounter before reading John Barth in college. Someday the kids will read the original tale and wonder why the stupid straw-house pig doesn't just hop onto the next bookshelf. Likewise, Shrek reimagines Puss in Boots as a Latin tomcat--but what kid today even reads Puss in Boots in the original...
...same marketing force behind them: the Happy Meals, action figures, books, games and other ancillary-revenue projects.) All of which appeals to the grownups who chaperone the movie trips and endure the repeated DVD viewings. Old-school fairy tales, after all, are boring to us, not the kids. The Shrek movies have a nigh-scientific formula for the ratio of fart jokes to ask-your-mother jokes; Shrek the Third includes a visit to a fairy-tale high school where there's a Just Say Nay rally and a stoner-sounding kid stumbles out of a coach trailed...
Then there are the messages aimed at kids. What parent today wants to raise an entitled prince or a helpless damsel? Seeing Snow White turn from cream puff into kick-ass fury in Shrek the Third--launching an army of bluebirds and bunnies at the bad guys to the tune of Led Zeppelin's Immigrant Song--is more than a brilliant sight gag. It's a relief to parents of girls, with Disney's princess legacy in their rearview mirrors and Bratz dolls and Britney up ahead. It goes hand in hand with a vast genre of empowered-princess books...
Tweaking fairy tales also allows moviemakers to tell stories about themselves without boring us. The Shrek movies are full of inside jokes (the kingdom of Far Far Away is essentially Beverly Hills; the first villain was widely seen as a stand-in for then Disney chief Michael Eisner). Fairy-tale parodies are safe rebellions, spoofing formulas and feel-good endings while still providing the ride into the sunset that pays the bills. In Happily N'Ever After, a wizard runs a "Department of Fairy-tale-land Security," seeing to it that each story--Rapunzel, Rumpelstiltskin, etc.--hews to the book...