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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.

To study how twenty-first-century fairy tale retellings recombine villainy and motherhood, this chapter analyses two mother figures in Maleficent: Mistress of Evil (2019): Aurora's godmother, Maleficent, and Aurora's soon-to-be mother-in-law, Queen Ingrith. I argue that Mistress of Evil attempts and fails to trouble the Good/Terrible Mother binary, ultimately reconfirming traditional notions of the Good Mother, by juxtaposing two mother villain characters. Ingrith first appears to be the epitome of the Good Mother, but the film quickly reveals that she is actually the stereotypical evil mother-in-law who uses the Good Mother image to mask her villainy. By exposing Ingrith's lie, the film debases the myth of perfect motherhood, suggesting that the image of the ‘Good Mother’ is only used to vilify other women in order to control people, but it also uses the Good Mother image to highlight how Terrible Ingrith is. Maleficent, on the other hand, vacillates between twenty-first-century images of the Terrible and Good Mother, specifically the aberrant and supermother. Rather than balancing these images and depicting a more nuanced motherhood, the film switches Maleficent completely between these two extremes, making her seem more villainous when she is aberrant and more motherly when she steps into the role of supermother. Whereas the representation of Ingrith highlights the lie of the Good Mother, Maleficent is forced into becoming a variation of that image. I argue that while Mistress of Evil attempts to reveal the pernicious nature of the Good Mother myth, it ultimately reconfirms it for a new generation of women.

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.

Some of the most recognizable ‘evil’ fairy tale characters are the stepmothers; second-wives who enter happy households, and seek to subjugate their step-children. This character arc is due to be dismantled. Patriarchal regimes over time have constructed realities where women and power do not go together. In early-to late-modern (white, European) societies, patriarchal structures placed restrictions on the decisions women could make with their lives. This meant that women with status were left with very few options to earn an income. The aim for this analysis is to show this distortion of upper-class female reality by analysing the portrayal of the stepmother characters in four fairy-tale film narratives released since 2000, focusing on the Cinderella and Snow White narratives (two of the more widely disseminated fairy-tale stories). By illustrating how little information is given about their lives before re-marrying, this chapter will demonstrate how audiences are still ignorant to the backdrop of wealthy male superiority and the patriarchal structures that would lead to a woman remarrying for economic security, showing them in a more sympathetic light.

The pretty girl with raven hair sings as she works and dreams of wonderful days ahead. The girl's dream is deferred by the wickedly jealous stepmother who sends a trusted guard to commit murder. The man, overwhelmed by the girl's inherent goodness is unable to complete his deed, and warns her to run away and never return. She travels deep into the woods and is helped by friendly forest creatures with big eyes. They take her to a small cottage and she falls asleep, to be awakened by several small men who find it in their hearts to allow her to remain. The miniature men leave for work the next day, warning the girl of the stepmother and her trickery. The nasty woman disguises herself and easily convinces the girl to take a bite of the religiously symbolic apple, after which the girl is induced into a coma. The small men return, chase after the horrible stepmother and cause her to fall to her death, after which they do not bury the beauty-girl, but instead leave her ensconced in a glass tomb for all to see. The gallant prince finally arrives and kisses her, true love breaking the apple's spell and allowing the girl to ride away on the horse with the true hero, leaving behind the woodland creatures and small men forever. Sunlight beaming, girl beaming, small men and creatures beaming. All is right with the world.

Snow White is one of the most popular fairy tales worldwide. Therefore, it is not surprising that the story has been reconsidered multiple times during the current trend of producing fairy tale adaptations. Especially the Evil Queen has become an object of further examination in many recent instalments of the story. In this chapter, I analyse the revision of Snow White's stepmother in the book series The Lunar Chronicles (2012–2016), the films Mirror Mirror (2012), Snow White and the Huntsman (2012) and The Huntsman: Winter's War (2016), as well as the TV-series Once Upon a Time (2011–2018). Compared to other villains in recent fairy tale adaptations, who are, like Maleficent, redeemed, the queen remains an embodiment of evil and terror in most adaptations. I outline the depiction of the Evil Queen in present-day US-American fairy tale narratives, assessing what makes her the most villainous woman in all the fairy tale realms and questioning why many of these stories try to understand but do not forgive her. The focus of this investigation is on the backstory that she is equipped with, her crimes, and her ultimate fate. Although she has been abused, traumatized, and betrayed, she seems to remain an uber villain, not only attempting to kill her stepdaughter but also destroying nature, starving her people, and spreading a deadly virus. This kind of representation might result from the fact that her opponent is by the very name the purest fairy tale princess ever known.

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).

For every hero, there is a villain, and for every villain there should be a story. But, how much do we really know about the villain? Gender and Female Villains in 21st Century Fairy Tale Narratives: From Evil Queens to Wicked Witches seeks to fill a gap in the field of gender representation and character evolution, with chapters centred on female villains in the fairy tale narratives of the twenty-first-century media.

This book aims to bring together a collection of interdisciplinary research on the evolution of female villains from television and film, the impact of these characters on filmmaking, storytelling, narrative structures and considerations with regard to gender representations.

Within the realm of fairy tale study, the characters of princesses, princes, heroes and the damsels-in-distress have been researched extensively. However, the female villain has rarely been the central focus of academic study. This book is the first collection of chapters based on female villains in the twenty-first century fairy tale narratives.

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.

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).