The "Enchanted" Theory: Breaking the Disney Force

We are going to kick Disney week off with an interesting theory that I found and have completely thrown myself behind in its reasoning and potential to be more than just a fan theory. Join me as I dive deep into a theory that can be considered "breaking the Disney wall" when it comes to cartoons and media in general.

What is "breaking the 4th wall"?

For those of you who have watched Deadpool, you see him break what's called the "4th wall" quite often; there's also a handful of Family Guy episodes that do it as well. Now, you may ask what exactly this means; fear not because it wasn't too long ago that I learned exactly what breaking the 4th wall is.

When a character from some form of media (most commonly found in tv shows, movies, or plays) turns and addresses the audience, acknowledging that they actually EXIST, they are breaking the illusion that they are a part of a story; that they are confined as a character, an imaginary person, or something that someone else is watching and they are supposed to be acting in a specific way. This is breaking the 4th wall.

Deadpool is dreadfully famous for doing this in his films; so often, in fact, that you could easily say he does it once about every ten minutes. While I don't consider Deadpool under Disney for this blog, he IS the most well-known character for this type of storytelling technique. While Enchanted does not directly break the fourth wall, in some ways it breaks it indirectly; from this comes the "Enchanted Theory".

How does this all tie in?

When it comes to Disney and fairytales, we can all agree that most of the storylines are pretty cookie-cutter in their similarities; even the stories that are not about a Princess being saved by some Prince (like Frozen, Mulan, or even Raya) still have very similar storylines in the way that there is adventure, and someone needing saving from something. Even the beginning of Enchanted shows this, as the opening scene is a standard cartoon world where a woman is in a secluded place, dreaming (singing) about a Prince until he suddenly finds her and whisks her away to become his wife.

I won't lie, I absolutely LOVE this movie! The sequel actually did not disappoint either, even getting a quick cameo from the original daughter. However, Giselle can definitely get extremely annoying sometimes, especially when she is still in Andalasia. It makes for a great movie regardless, because I feel like all movies annoy someone out there; and as I said I loved the movie regardless.

You can see, though, how in the beginning it's just like every other Disney fairytale movie out there. The theory behind "The Enchanted Theory" as I have been calling it, is that the movie itself is obviously not a normal fairytale. However, it is the only Disney movie to cross worlds the way that it does.

In Andalasia, Giselle (Amy Adams) is following the typical fairytale parameters; but as soon as she is in New York, her parameters don't exist anymore. This isn't a typical Disney story done in the real world, but a true dimension hop. While different dimensions are just fantasy theories, it is a secondary theory that can be brought into this entire web. In dimension theories, like in Futurama, there are different types of timelines and dimensions where certain parameters and rules are in place. In Disney, it's that in fairytales you follow a cookie-cutter path of falling in love with a destined person, normally a Prince and Princess. While we know that is not how life goes, it's always great to imagine, which is what Patrick Dempsey's character Robert tries to explain to her.

The proof in the difference of the dimensions is when you look how Giselle acts in New York: despite being in the real world, she exhibits remnants of traditional fairytale behavior, such as spontaneously breaking out into song. She also manages to influence the lives of those around her unwittingly; for instance, she inadvertently prevents a couple's divorce due to the lingering echo of fairytale norms. Giselle's arrival in the real world also brings with it a touch of magic, evident in her ability to heal love. This stark contrast is highlighted by Robert's forceful demeanor towards her, driven by his disbelief in Edward's return. Giselle's random excitement at being angry is a key sign too, as her normal parameters would mean that she doesn't understand anger; have you ever noticed how it's very RARE for a true Disney Princess to actually get angry? Mad, most definitely, but truly angry or filled with hate is a totally different story. Meanwhile, Edward remains the sole character who steadfastly adheres to traditional fairy tale norms, despite the real-world setting.

On the flip side of this, the echo of fairy tale parameters also clearly followed Edward, as well. Nancy falling for him quickly after their encounter at the ball is evidence of this, as the movie ends in their marriage shortly after crossing back to Andalasia; ironically after he put Giselle's missing shoe on her foot which also follows the fairytale parameters of Cinderella. Their quick show of traditional fairytale parameters, as seen in their immediate marriage, underscores the enduring influence of fairytale norms. This can be noted even more in the sequel, where you can see that Nancy seamlessly integrated into the fairytale world, shown by her quick and seamless participation in the musical number with Edward.

Ironically, the best description I saw about this is that, in the end, Edward takes the blue pill and goes back to his life in Andalasia, continuing to give the fairytale parameters their traditional required happy ending; while Giselle takes the red pill to continue seeing what life outside of a fairytale is like.

All in all, The Enchanted Theory offers a unique perspective on breaking the fourth wall in Disney storytelling. By blending typical fairytale parameters with the real world, the film highlights the contrast between fantasy and reality. It prompts viewers to consider the enduring influence of fairytale norms and the complexities of navigating between two worlds. Whether characters adhere to traditional fairy tale norms or venture into unfamiliar territory, Enchanted invites audiences to ponder the boundaries between fantasy and reality.

I hope you enjoyed our opening to Disney Week! Come back tomorrow for more exciting moments of tearing apart our childhoods. Until then, keeping on theorizing!