Gender and the Male Character in 21st Century Fairy Tale Narratives

What's in a name? Not much if you're Prince Charming. While the erstwhile indistinctive princes and heroes of fairy tales have enjoyed a bit of the spotlight in modern television and film narratives, this exposure has not extended, as much, to the academic study of fairy tale men.

This collection of chapters delves into the often-overlooked realm of contemporary male fairy tale characters, a domain that remains largely unexplored within academic circles. By drawing on diverse narratives from television, film, and literature, this interdisciplinary collection sheds light on the evolving representations of male characters in fairy tales and their intersections with broader socio-cultural themes.

Through an acknowledgement of the historical roots of the fairy tale genre, this collection explores how these characters have transcended their original contexts and infiltrated various fictional genres. By examining the thematic resonance of fairy tales in contemporary narratives, this collection underscores its enduring influence on modern storytelling.

This collection seeks to fill the scholarly void surrounding male fairy tale characters, particularly within the realms of queer studies, gender studies, and postcolonial studies. By including a range of academic approaches, from character analysis to fan studies to film and television studies, this collection enriches the understanding of the complex role of male characters in modern fairy tale discourse.

Children's film and fiction often portray a witch as either an evil hag or an incompetent older woman yet when the male witch is within the narrative, he is named Sorcerer or Wizard, suggesting therefore that (unlike the hag) age and gender is not a factor when performing witchcraft. Moreover, the male witch identity is introduced from the position of empowerment and competency rather than prejudice. Witch identities are gendered, and the male witch is underappreciated and overlooked by the historical identity of the female witch.

This chapter analyses how the male witch is presented in selected children's film and fiction through the frameworks of Hegemonic, Hybrid, and Mosaic Masculinity. Hegemonic Masculinity demonstrates the toxic performance of the male witch, indicating to readers and audiences that to be male and a witch, a heterosexual man must be cruel and manipulative. Hybrid Masculinities relate to some patriarchal behaviours such as violent outbursts, that also blend with more empathetic and emotional behaviours. Mosaic Masculinity presents the male witch in a way that is fluid and disrupts the binary of Hegemonic and Hybrid Masculinity.

This chapter acknowledges the absence of presence of the male witch and encourages a more authentic representation of the male witch that is akin to those who practice witchcraft. There are non-toxic examples of masculinity that challenge the potential for stereotyping, hence there is a need for a better representation of what it means to be a witch within popular culture.

Fairy tales and their movie counterparts have, for decades, been a means of socialising children and audiences regarding gender (e.g., Shewmaker, 2015; Whitley, 2013). Specifically, Disney movies that portray fairy tales have strongly influenced how young children learn gender roles and gendered behaviours, yet deeper examination is needed of how Disney portrayals of masculinities have evolved among these films and across character type to understand how Disney may be reflecting or impacting dominant representations of masculinity that privilege certain identities and characteristics over others (Brode, 2016). While previous work has examined Pixar films as socio-culturally meaningful for representations of boyhood that remain grounded in traditional, hegemonic notions of masculinity (Wooden & Gillam, 2014), this chapter adds to the body of work by employing a critical content analysis of Disney films from Snow White and the Seven Dwarfs to Disney's most recent addition of Strange World to answer the questions about how masculinities are portrayed. Through answering these questions of evolved representation throughout close to a century amount of work, we contribute to scholarship that attempts to understand media influences on boyhood culture, which is considered in crisis due to overemphasised representations of powerful, strong male characters that hide their emotions (Brode, 2016; Wooden & Gillam, 2014).

Fairy tale narratives have placed significant emphasis on depicting female and male protagonists through a binary understanding of gender roles. Major male characters are portrayed with traits associated with hegemonic masculinity, reinforcing concepts that uplift masculine superiority, such as independence, exercise of power, authority, and strength. Conversely, female protagonists are often represented in ways that emphasise hegemonic femininity, aiming to disempower and marginalise them by highlighting traditional feminine traits like passivity, dependence, and helplessness. Any female characters deviating from these norms and depicted as powerful and dominant are positioned as villains in relation to the main female protagonist, embodying non-hegemonic feminine characteristics.

The representation of women in these ways primarily serves one purpose: to uphold masculine superiority. Hegemonic femininity portrays women as damsels in distress, awaiting rescue. On the other hand, non-hegemonic femininity manifests through villainous women performing antagonistic acts towards conforming female protagonists, thus forcing them into a helpless position. This is the critical juncture where the main male protagonists' step in – rescuing the helpless female protagonists and defeating the female villains – reinforcing masculine values in both scenarios.

However, the 21st century fairy tale narratives have challenged this ideology. I argue that recent fairy tale narratives have adopted the technique of ‘Feminist Quest Heroine’ to challenge and deconstruct male characters' heroism through the re-portrayal of female and male characters. The selected fairy tale narratives include Frozen (2013) and a comparative analysis of Sleeping Beauty (1959) and its cinematic adaptation Maleficent (2014). The findings suggest that these fairy tales rework the representation of male characters in three ways: the application of post-feminist masculinity, the modification of heteronormative temporality, and the prominence of sisterhood upon the critique of patriarchy.

The folk or fairy tale is a complex combination of factors and functions and it is the analysis of these where nuances in the tales appear (Propp et al., 2015, p. 10). Propp was interested in plots, whereas this chapter aims to create an analysis of the visual perception of masculine identity, its relationship to the texts and to social and political expression in the early 1900s.

Challenges to masculine identity are found throughout fairy tale imagery of the 1900s. Artists of the time demonstrated their perceptions of societal change by creating illustrations that spoke to a changing audience. They began to depict versions of masculinity that played with, and celebrated a queer male character, amongst others. Although not always represented in a positive manner – Dulac's 1929 King in ‘Puss in Boots’, is a foolish fop – they were often portrayed with softness, flamboyancy and panache in opposition to the aggressive, hegemonic, or dominant persona who had until then been the staple of the fairy tale's visual masculine identity.

These new illustrations resisted the stereotypical depiction of masculine norms. They explored an identity that had not existed in the fairy tale until the changing rhetoric of social, political, and artistic movements was inculcated into them. The illustrations began to provide an opportunity to identify an atypical description of masculine norms in an unexpected domain. They challenged physical expectations and the hegemonic expectation of masculine identity, at a time where a predominant patriarchal hegemonic identity was the norm.

This chapter examines two 21st-century Disney fairy tale adaptations, Frozen (2013) and its sequel Frozen II (2019), focussing on the representation of male characters and the discourse on masculinity that can be inferred from both films.

Despite featuring two prominent female protagonists – Queen Elsa and Princess Anna – and dealing with themes such as sisterhood and female bonding, a close reading of the two films reveals that they are as much about masculinity as they are about femininity. For instance, filmmakers introduce heterosexual romance where there was none before, as well as male characters Prince Hans and Kristoff, who are not present in the literary source that they draw from, Hans Christian Andersen's ‘The Snow Queen’ (1844).

Furthermore, these male characters are given names, personalities, and motivations, which cannot be said of previous Disney fairy tale Prince Charming-type figures. Therefore, Hans and Kristoff are proposed to be variations of this archetype and can be read as an attempt on Disney's part to complicate it, undermine the patriarchal masculinity that it stood for in its previous Disney renderings, and propose alternative models for the implied 21st-century audience.

Although Prince Hans is initially presented as a stereotypical Disney fairy tale prince, he is eventually revealed to be a narcissistic lover and a patriarchal villain. Kristoff, by contrast, is the humble, lower-class, sensitive ‘new’ man who is presented as a socially acceptable alternative and finally takes Prince Charming's place by becoming the princess's love interest and partner. Frozen can be read as a cautionary tale that urges young women to choose their romantic (male) partners wisely and warns both male and female audiences against the dangers of fragile patriarchal masculinity.

Red Riding Hood is said to have been assembled from folktales that pre-date the collector Charles Perrault's 1697 re-telling and initial publishing (Dundes, 1989; Zipes, 1993). Since then, it is a story that has been re-told and re-imagined many times in various media contexts, with Beckett suggesting that it is one of the most familiar icons of Western culture, and a ‘highly effective intertextual referent’ (Beckett, 2002, p. XVI). Even though this story has been generally regarded as a children's tale, adult themes of sexuality and transgression have been explored in modern re-conceptions. In this chapter, we examine the representation of gender and masculinity in commercial media output: the 2011 American film Red Riding Hood (Hardwicke, 2011) and the pilot episode of the NBC series Grimm (2011). In Red Riding Hood, a romantic horror film, the male characters may be regarded as satellites that cluster around the female protagonist, whereas in Grimm, through its generic fusion of police procedural and horror genres, the text plays upon strong established examples of traditional male roles alongside more nuanced and contemporary representations of masculinity. Our analysis explores themes of transformation and heteronormativity and the extent to which the texts challenge or conform to traditional tellings.

The modern fairy tale hero identity falls into a general spectrum of tropes that spans from the charming prince who seals the fate of the beautiful princess with a kiss to borderline villains with little break in this spectrum. The Witcher's Geralt of Rivia brings to light an often overlooked hero's identity by representing neither ends of this heroic spectrum but rather a different breed of hero entirely. We argue that Geralt of Rivia differs from the typical representation of the fairy tale hero by embodying the spirit of the Huntsman archetype as depicted in stories such as Snow White and Little Red Riding Hood.

This creates a new means of exploring fairy tales as genres by giving perspective to the bloodier, messier sides of these tales which have since deviated from their darker origins. Geralt exists as neither hero nor antihero, but rather a sword-for-hire who cleans up messes that ‘heroes’ otherwise cannot or will not handle themselves. Across his depictions in the books, games, and show, Geralt involves himself as a witcher; hunter of monsters. Geralt's method in overcoming this style of quest is unlike the usual hero. Standing in for the Huntsman, Geralt understands the nature and balance of man and beast and carries this responsibility while looking to accomplish his goals. In this chapter, we seek to document and bring to light this underrepresented style of hero that the witcher has to offer to show that such a hero needs not be black nor white.

Dark (Netflix, 2017–2020) is a German-produced science fiction television series, created by Baran bo Odar and Jantje Friese. Set in the geographically ambiguous small town of Winden, Dark is an intricate time-travel saga primarily across different epochs. With its emphasis on uncanny natural settings and fairy tale tropes (such as lost children, mysterious travelers, magical devices, etc.), Dark can easily be interpreted as fairy tale. Central is young Jonas Kahnwald who loses his father and witnesses the mysterious disappearance of a local boy. These traumas lead to shocking truths about his heritage. Jonas is the hero (both victim and seeker, after Propp's definition) though his twisting quest brings him face-to-face with two older versions of himself: The middle-aged Jonas fulfils a mentor/donor role for the younger but is conflicted in his desires to both perpetuate and unpick ‘the knot’. Later, Jonas encounters cataclysmic extremist ‘Adam’, a mature version of himself who acts as antagonist. Thusly, Dark centres White male trauma, agency, and ego to reflect responses to historic cultural trauma (such as the notion of the ‘anti-Heimat’) whilst also critiquing traditional conceptions of masculinity through young Jonas's actions. This chapter maps the interplay and representation of ego and trauma. Through textual analysis and with reference to relevant cultural, psychological, and philosophical scholarship, my exploration follows the threads of what Dark communicates about contemporary German masculinity in the face of trauma and how it reflects Western, White cultural thinking about the self.

Some fairy tale characters have transcended their original fairy tale genre and their influence can be perceived in other fictional genres. One illustration of this is the character of Blue Beard. This story, written by Charles Perrault, was first published in 1697 (Hermansson, 2010, p. 2). It moved through several themes or topics from anxiety to money to the right of the husband and wives (Warner, 2014, p. 82). In Perrault's story, Blue Beard is conceived as a serial killer and a jealous husband. ‘Whatever the medium, whatever the date: in opera, cartoon, X-rated film or graphic novel, he is an archetypal serial murderer, terrifying and yet alluring’ (2015, p. 76).

The influence of this character and examples that carry, at the very least, remnants of Blue Beard can be clearly identified in several contemporary narratives. In the BBC television series The Fall (Cubitt, 2013), Jamie Dornan portrays a serial killer named Paul Spector. Alternatively known as the Belfast Strangler, Spector, like Blue Beard, has a wife and children who are unaware of his murderous spree. Another example of the attempted enforcement of extreme patriarchy can be seen in Cult, the seventh season of Ryan Murphy's American Horror Story anthology series. The season is dedicated to the 2016 US election between Donald Trump and Hillary Clinton (Raddish, 2017). In this fictional narrative Kai Anderson (Evan Peters) symbolises toxic masculinity and models patriarchal archetypes to create a cult and become a senator.

Through a contextual post-structuralist analysis of the aforementioned characters, this chapter intends to examine the representation and evolution of male character under the umbrella of the fairy tale ‘man’.

As a fairy tale is adapted to fit with current cultural discourses, drastic changes occur. One of these changes is the erasure of the old man. The wise old man, the doddering old fool, and many more tropes that older men fill have been altered. The eccentric Merlin and the mad Hatter have been replaced with younger versions in Merlin (2008–2012) and the Syfy miniseries Alice (2009). While the grandfather is technically found in Disney's Once Upon a Time in the form of Rumpelstiltskin, it is rarely discussed. In the Beauty and the Beast (2017), Maurice is no longer the town oddity as he goes from tinkering with odd inventions, to being a music box maker. His creativity and quirky idiosyncrasies have been erased.

This chapter delves into this disappearance of the older man in modern fairy tale adaptations, and the repercussions this has in the representation for the older man. Furthermore, this chapter seeks to show how toxic ageist notions in Hollywood have impacted the role of the old man as he is replaced with the stereotypical younger man, due to the increased objectification of men in film and the subsequent conformity to the ‘ideal masculine form’. This objectification can be seen through the slow ‘reinvigoration’ of the Mad Hatter from Disney's Alice in Wonderland (1951) to the Hatter in Syfy's Alice (2009), Johnny Depp's Mad Hatter, Tarrant Hightopp, in Tim Burton's Alice in Wonderland (2010), and finally Sebastian Stan's Mad Hatter in Once Upon a Time (2011–2018).

Tabletop ‘pen and paper’ role-play games (TTRPGs) can function as spaces of creative experimentation with gender identity through shared storytelling. The last decade has seen an explosion of Actual Play (AP) shows that broadcast recorded gameplay of TTRPGs to online audiences. Neverafter is the 15th season of well-known AP show Dimension 20 and is a horror-themed re-imagining of classic fairy tales through the rules of Dungeons and Dragons. Four of the six player characters are male, based individually on the fairy tales of Pinocchio, Puss in Boots, the Frog Prince, and a (gender-swapped) Mother Goose, adventuring together in a story-world called ‘The Neverafter’. Not only are these versions of the fairy tale characters shaped by the players' own explorations of identity, but as an AP show, this is also layered with the expectations produced by the show's wide fan base. Their diverse gender explorations and their subversion of fairy tale conventions are enabled by the fluency of the players and audience in freely flowing between the framing perspectives of player and character. This chapter will focus on non-binary player Ally Beardsley's creation and performance of Mother Timothy Goose as a gay, elderly, human man as a particularly meaningful case study. This analysis considers how heroic masculinity is reconceptualised in Neverafter through the horror-themed embodiment of fairy tale men in the context of contemporary gender issues.

In fairy tales, male heroes typically come from royalty and villains are categorised as pirates, evil Kings, various animal and supernatural creatures, for example, Scar, the Beast, Rumpelstiltskin, and Bluebeard. In Pirates of the Caribbean (2003), Captain Jack Sparrow lacks the villainous qualities that come from Disney's predecessor, Captain Hook. However, Jack does not possess the classic qualities of a prince. He tries to be heroic when he rescues Elizabeth Swann but turns on her to excel in his own motives. With beads in his hair, his eyes lined with kohl, and a love for accessories, Jack's appearance distorts traditional notions of masculinity. In Alice in Wonderland (2010), Tarrant Hightopp (Mad Hatter) is an untraditional character who has become detached from reality.

His madness, which is evident through his clothes, speech, and actions, comes from the destruction of his family. Jack and Hatter invert the expected order of things, ‘Now up is down’ (Verbinski, 2007). Their hats appear to be symbols of their obscure masculinity. Although they are both played by Johnny Depp, the Hatter and Captain Jack Sparrow possess unconventional male attributes which make them unlikely heroic characters. They offer a fluid perspective on the ever-changing aspects of masculinity. Unconventionality is becoming increasingly popular in Disney works. Therefore, this chapter aims to analyse two non-traditional male fairy tale characters with an emphasis on their fashion choices, lack of true love endeavours and unconventional heroic actions.

Fairy tales were first transmitted orally to teach the community to adapt and engage with their surroundings (Zipes, 1987, p. 1). Nonetheless, they have also contributed to reproduce traditional gender roles and stereotypes (Meland, 2020, p. 912). Indeed, they encourage ‘females to become passive self-denying, obedient, and self-sacrificial’, and males to ‘be competitive, authoritarian, and power-hungry as well as rational, abstract, and principled’ (Zipes, 1987, p. 3). Likewise, Western fairy tales are characterised by a racial dichotomy manifested through the uses of colour: purity is usually associated with white, while black is related to death. This binary opposition suggests that ‘[w]hiteness is often the invisible, privileged state, whereas any other skin colour is marked and laden with ideological judgments’ (Jorgensen, 2013, p. 56).

Carnival Row (2019–2023) is a neo-Victorian TV series created for Amazon Studios that rewrites Western fairy tales through the lens of postcolonial and gender studies. It is set in a fantastically reimagined Victorian England, where mythological creatures – e.g. fairies or centaurs – are allegorical representations of the ethnic Other. The male protagonist of this series, Philo, is a ‘half-breed’ – half human, half fairy – who passes as human to avoid racial discrimination. However, he evolves from being a male character who rejects his ethnic identity to a heroic figure who eventually embraces his racial origins at the end of Season 1. As I demonstrate in this chapter, Philo's nuanced development arguably subverts traditional depictions of white male heroes in fairy-tale narratives, where they tend to be portrayed as strong, principled and non-complex characters.

The role of the fairy godmother is a traditional archetype in the fairy tale genre, providing guidance and utilising transformative magic to enable the young heroes of the tales to find their happy endings. Shows such as Queer Eye feature LGBT+ people performing quasi-magical makeovers to reveal participants' ‘true selves’ and Pose and RuPaul's Drag Race have raised awareness of drag mothers and other forms of queer mentorship and support. As a result, the role of the fairy godmother is now opening up to include men and non-binary people.

One notable example is Billy Porter's ‘Fabulous Godmother’ in Cinderella (2021) who floats onto the scene, where the script, costuming, and performance underline his presentation as an openly queer character, taking Cinderella under his wing and providing her with the ballgown, chariot, and encouragement to attend the prince's ball. However, the fairy godmother is not simply gender-neutral. She remains a distinctly effeminate figure. Therefore, it remains to be seen whether this figure will eventually open up new forms of masculinity, reify existing images of queer femininity, or whether this diversity is simply a short-lived deviation from the existing trope.

In many storybooks in the Philippines, the presence of a sibling is a commonplace in writing the child protagonist's world. More specifically, the kuya, which is the Filipino term for older brother, is a male character that can influence the child protagonists. In this chapter, my goal is to analyse the positionalities of the kuya as male characters in four storybooks from the Philippines that feature the bond between a younger child and the older brother/s. These storybooks are Salo-Salo Para Kay Kuya (A Feast for Big Brother), Sandosenang Kuya (A Dozen Big Brothers), Ang Kuya Kong Zombie (My Big Brother Zombie) and Ang Misteryo ng Patong-Patong na Damit ni Hulyan (The Mystery Behind Hulyan's Layered Clothes).

Through this chapter, I aim to theorise the roles that male characters play vis-à-vis their relationships with their younger siblings. The male characters' narrative journeys, character developments and roles in the context of the story are analysed through what Michael White calls ‘subordinate storylines’, which is character information that cannot be accessed by mere conversation among children. Thus, in the chapter, I investigate the values; intensions; knowledge and skills; and social, relational and cultural genesis of the male characters vis-à-vis the narratives and their interplay with the child protagonists in the story.

Netflix's short-lived Gothic sci-fi psychological thriller 1899 tells of the discovery of a ghost ship by a steam-liner bound for America. All aboard are tested by unexplained deaths, visions of past traumas and impossible events. 1899 exemplifies what Mittell calls ‘drillable media’ (2009), contemporary elaborate and inventive serial TV narratives which encourage the viewer into active reception, rewarding forensic deconstruction and analysis.

The creators sprinkle references to Classical mythology and philosophy throughout 1899, inviting literate, active consumers to use them in forensic reception. Featuring an ensemble cast of 20 principal characters, 1899 offers a variety of ‘masculine’ representations, and all can be described as Gothic. These characters are understood and enhanced through consideration of the allusions to Classical mythology in the text. These echoes enhance and shape the Gothic masculine representations in 1899. Furthermore, the female protagonist is imbued with counter-typical hegemonic gender traits and her connections to mythic and literary characters encourage a questioning of her status as hero.

With reference to Classical reception and Gothic studies, textual analysis and online analytical discourses posted by fans of 1899, this chapter explores the interplay between Gothic male representations, ‘masculine’ traits and allusions to mythology, employing both to create a television series which is both timeless and contemporary.

The breadth of research and study on the topic of fairy tales is rich and abundant. However, there exists a gap in the research of the genre where it pertains to the meticulous study of male fairy tale.

The character Hook has enjoyed some status in film including the notable portrayal by Dustin Hoffman in the 1991 film (Spielberg, 1991), this character relied heavily on traditional fairy tale tropes and depicted little in the way of character evolution or progression. Nevertheless, a more progressive and complex version of Hook was depicted in the Once Upon A Time series (2011–2018). This version of the character enjoys not only an extended and complex narrative journey but comprises several layers of nuanced character construction that implores a contemporary exploration thereof.

While Vladimir Propp's dramatis personae stands as, likely, the most prominent model for the study of fairy tales, its comprehensiveness can be called into question when applied to contemporary fairy tale characters. For example, whereas previously the female fairy tale character was confined to the role of damsel in distress, contemporary versions display substantial development in this area. And as illustrated through the complexity of Once Upon A Time's Captain Hook this is not, in contemporary times, confined only to the female character. Consequently, this chapter adapts the Looking Glass paradigm and utilises what the author has termed the Looking Glass Masculinity Matrix as an evaluative tool to unpack the contemporary representation, in line with current societal ideals and/or values.