Ranking Every (Important) Cinderella Movie
In October of 2012, television personality and designer Lauren Conrad appeared on SiriusXM Satellite Radio’s Sway in the Morning to promote her then-new book, Lauren Conrad Beauty. Near the end of the show, host Sway Calloway asked Conrad her “favourite position.” Conrad responded: “CEO.”
And thus, a rallying cry was born. After video of the exchange resurfaced in 2014, it spread like wildfire among aspiring #GIRLBOSS-es (who in turn, passed around copies of Sophia Amoruso’s eponymous millennial pink tome like the Holy Book).
As editor of an online publication geared at college women, I wasn’t immune to this latest wave of feminism; I published articles about girls who were “doing it all,” I chaired hollow women’s empowerment events decked out in a pink dress and a black blazer where the main attraction was a free makeover from the Sears Beauty Department. On my birthday that year, my dad wrote “Lean In!” in my card.
So, what does any of this have to do with Cinderella?
In 2021, writer-director Kay Cannon (whose other notable projects include writing the Pitch Perfect films and creating, writing and executive-producing the Netflix television show adaptation of — that’s right — #GIRLBOSS) gifted us with Cinderella. Why did Cannon, and producer James Corden, decide we needed another Cinderella? Because, we needed a Girlboss Princess.
Like many of you, I watched Cinderella (2021), directed by Kay Cannon, produced by James Corden and starring Camila Cabello (and Corden). Unlike many of you, I kept going and watched a total of ten Cinderella movies over the course of three weeks. Around film number three, it became clear to me that adaptations of classic stories reflect our collective values at that point in time. So, what does our evolving view of Cinderella say about us?
In addition to adaptation of the fairy tale, I’ll be weighing three other important criteria: music, fashion and how ridiculous the Evil Stepsisters’ names are.
A note on the selection: I’m only ranking films (sorry, Julie Andrews and Lesley Ann Warren fans). Further, this is not an exhaustive list of Cinderella movies, only the ones I have deemed most important. For my own mental health, I will not be ranking any A Cinderella Story sequel made after 2008.
10. Cinderella (2021)
Adaptation: Cinderella (2021) says, “girls can participate in capitalism, too.”
Camila Cabello plays Ella, who the film wants us to know is not like other girls. She doesn’t want to be saved — she wants to own a business! She spends her days in her gorgeously-lit basement, sketching gorgeous dresses in the hopes of getting that seed money to open her own shop. She’s kept in the basement by her vengeful stepmother, Vivian (Idina Menzel), who later reveals that she too was an aspiring girlboss.
As it happens, Crown Prince Robert (a charisma-less Nicholas Galitzine) is having a bride-finding ball, at the behest of his parents. Ella wants to go to the ball not for the Prince, whom she met in a delightful case of mistaken identity in the village (this is common for these movies), but because a ball is the place for networking.
Ella gets to the ball with the help of her “Fab G,” played by Billy Porter who must have had it written in his contract that he was not going to do more than one day of filming. She gets a Mercedes-Benz designed carriage (I’m not making that up). When the clock strikes midnight, she doesn’t leave her glass slipper by accident, but throws them on the ground because Kay Cannon read your thinkpiece about Bryce Dallas Howard in Jurassic World.
This movie is empty. It’s Ms. Monopoly. It’s a $380 Lingua Franca cashmere sweater. It’s girl power by way of Girl, Wash Your Face.
At least Minnie Driver got paid.
Music: If the presence of Cabello didn’t give it away, this movie is a musical. There’s an attempt at a Moulin Rouge!-style jukebox musical, with an original song or two thrown in for awards season purposes. The covers are about as obvious as you can get — Vivian sings “Material Girl” because, guys, she’s a material girl! The Prince sings “Somebody to Love” because… oh, guess. The sole purpose of these covers are seemingly to have you turn to the person next to you and say “hey, I know that song!”
The sound mixing is actually kind of awful, and this is coming from someone who doesn’t usually notice that kind of thing. Cabello gets her big Best Original Song contender, but voice is so warbled and drowned out by the backing track that even Ariana Grande would say “girl, enunciate.”
Fashion: Considering this version of our heroine is a fashion designer, I’m expecting a lot from the costumes. What we get is just fine. Ella’s ballgown is at least different than what we’ve seen on Cinderellas past, but I’m not sure how I feel about the… sleeves ? Hand-less gloves?
Ridiculous Stepsister Names: Malvolia and Narissa. J.K. Rowling herself couldn’t come up with more obviously villainous names.
9. Another Cinderella Story (2008)
Adaptation: Four years after Hilary Duff had her go at Cinderella, the smart people at Warner Bros. realized they were sitting on a direct-to-DVD goldmine, with an entirely new stable of Disney Channel stars to choose from. And starting with the actually cleverly-titled Another Cinderella Story starring Selena Gomez, they turned A Cinderella Story into the tween-girl equivalent of the Jarhead movies (the latest, A Cinderella Story: Starstruck was released in June).
Of all the movies I watched for this article, this has the sweatiest premise. Mary (Gomez) is an orphan whose mom was a backup dancer for aging popstar-turned-evil foster mother Dominique (Jane Lynch, doing what is required of her). Meanwhile, young pop sensation Joey Parker (Drew Seeley, AKA the guy they cut Zac Efron’s vocals with in High School Musical) is taking a step back from his world tour to finish senior year at Mary’s public school (okay!). There’s also an impending masked ball and a dance contest.
Mary goes to the ball and hits it off with Joey, but leaves at midnight as the plot demands and leaves behind… her shoe? Nope! This is a direct-to-DVD film and Microsoft is footing part of the budget — she leaves behind her Zune MP3 player and my god if they don’t keep repeating the word “Zune” so that you know it was in fact a Zune (Steve Jobs presumably seething that the iPod missed out on that valuable Another Cinderella Story promo).
As it was made solely to cash in on the popularity of Gomez and the name recognition of the original film, the production values of this movie aren’t high. The movie hinges on the fact that Mary is a great dancer — so great that she’s exclusively filmed dancing from the back and in shadow so that Gomez’s noticeably taller body double can do the work. It doesn’t help matters that Gomez was a very obvious 15-years old at the time of filming, while Seeley was 26.
This movie nonetheless gets placed a teensy bit higher than Cinderella (2021) for the simple fact that it’s not as blatantly offensive. It’s a cash grab, but it makes no bones about it. It’s here to promote a Selena Gomez and the Scene single and sell you a Zune. As it should.
Music: Full disclosure, my friends and I performed a choreographed dance to “Just That Girl” for our ninth grade phys-ed project. Which is to say, it kind of slaps. Honestly, “New Classic” goes off too.
Fashion: It’s giving… Forever 21.
Ridiculous Stepsister Names: Bree and Britt. Not even trying.
8. The Glass Slipper (1955)
Adaptation: The Glass Slipper is a forgotten film from MGM’s Golden Age, conceived as a star vehicle for Leslie Caron, a French actress and ballerina who was signed to a seven-year contract with the studio. I can’t exactly say this film is a hidden gem. It’s interesting for those who enjoy Old Hollywood, but as a Cinderella film it falls short.
Ella as played by Caron is a social misfit, which is a take I appreciated. She shouts and throws things and pushes the Prince (creatively named Prince Charles) into the lake. In Ella’s defence, she doesn’t know Charles is the Prince because he tells her he’s the palace cook. She even goes to the ball with the intention of sneaking off to the kitchen.
This movie is also notable for how it eschews the magic. The fairy godmother mantle is taken by the village spinster, who simply appears at Ella’s doorstep with a ballgown and the titular glass slippers. But unlike other non-magical adaptations, they don’t really bother to explain why the events of the film happen. That is, until the end when some very tacked-on narration explains that actually, the old lady was her magical fairy godmother all along! To me it reads like the screenwriters forgot to write it in and they were on deadline because this was MGM in the ’50s and Leslie Caron had like, five more movies lined up.
Music: This film is marketed as a musical, but aside from a dream ballet sequence meant to showcase Caron’s talents, there are no musical numbers. However the ballet is worth watching even if you don’t watch the entire film. Your enjoyment of the score will depend on how much you enjoy any film score from that era (which for me is not a lot).
Fashion: Grand in the way an MGM Technicolor dream should be. Caron looks gorgeous in her ballgown, and I love the way the feminine pink and white bows contrast with her boyish hairstyle. I also appreciate the costume she wears for most of the dream ballet sequence, which serves as a fancier, pinker version of her regular peasant look.
Ridiculous Stepsister Names: Birdena and Serafina. Deliciously tacky. No notes.
7. Ella Enchanted (2004)
Adaptation: Of all the films on this list, 2004’s comedy-fantasy Ella Enchanted takes the most liberties with the original tale. Some of that is due to the fact that it was primarily based on a children’s novel written by Gail Carson Levine, which itself borrowed only a few elements from the Cinderella story. The rest, you can blame on Shrek.
Levine’s book plays much straighter than the film, and is primarily focused on Ella of Frell, who is given the “gift of obedience” by her inept Fairy Godmother, and her journey to lift the curse. It’s at least easy to see how in the waning days of the Weinstein Brothers’ regime at Miramax, the infamous studio head took the basic structure of Levine’s story and fashioned it into one of several films of the ’00s that attempted to ride the coattails of DreamWorks’ 2001 hit.
A lot of Levine’s story gets changed to make the plot more movie-friendly: the bulk of the film has Ella (Anne Hathaway, committing as always) and Prince Charmont (or “Char,” played by Hugh Dancy) on the journey to lift the curse together. Ella’s stepmother is a secondary villain, and the main big bad is Char’s scheming king regent uncle (Cary Elwes) and his unfortunately CGI’d talking snake sidekick. Also, a murder plot.
This film goes for broad parody: Prince Char appears on the cover of Medieval Teen magazine, there’s a chase scene at Ye Olde Shopping Mall and most tellingly, there is an O.J. Simpson joke (“If the gauntlet doesn’t fit, you must acquit!”).
This movie is way better than it has any right to be and that is in large part thanks to Anne Hathaway and the rest of the cast. Minnie Driver makes her second appearance on this list, although with an American accent for some reason. The cast knows exactly what kind of movie they’re in — they’ve got their tongues firmly in cheek.
Also, Heidi Klum plays a giant. Let’s just appreciate that for a moment.
Music: The film ends with the cast breaking into a choreographed performance of “Don’t Go Breaking My Heart” and it’s honestly just a lot of fun and everything enjoyable about the film distilled into one scene.
(So, are we going to talk about how there are now two Cinderella movies featuring Minnie Driver where a character sings “Somebody to Love?” Like, that’s kind of weird, right?)
Fashion: Everyone looks like they’re dressed for a pantomime, but maybe that’s the point. I’m more of a fan of Ella’s final dance ensemble (the go-go boots!) than her ballgown, which looks like it’s covered in cellophane.
Ridiculous Stepsister Names: Hattie and Olive, or what your twee friend named her twins in 2014.
6. A Cinderella Story (2004)
Adaptation: One day in 2003, I opened my latest issue of Disney Adventures magazine and saw the announcement that Hilary Duff — my favourite actress and popstar — was going to star in a Cinderella movie. It promptly became my most anticipated film, and you can bet that I was at Empire Theatres on opening weekend one year later. This movie was a masterpiece when I was 10 years old; I was a bit worried that it wouldn’t have the same lustre at 27.
Hilary Duff’s Sam is an orphaned valley teen left under the care of her ditzy, cosmetic surgery-obsessed stepmother, Fiona (Jennifer Coolidge), who puts Sam to work at her father’s old diner (which Fiona has turned from a charming roadside joint to a gaudy pink palace). Sam just wants to graduate high school and get into Princeton — and so does her mystery online pen-pal, Austin. Austin is the star quarterback who really just wants to be a writer and get his dad (the “Car Wash King”) off his back.
The ball in this version is a Halloween dance, which gives Sam the excuse to wear a princess gown. The gown is actually a wedding dress belonging to diner employee and Sam’s fairy godmother stand-in, Rhonda (Regina King). When Sam leaves her flip-phone behind without telling Austin her name, Austin begins a school-wide search to find his “Cinderella,” because this guy is not very smart and couldn’t recognize her in a simple eye-mask.
When I watched this I was about five Cinderellas deep into my endeavour; I was impressed with the way the script managed to keep all the things we recognize in a Cinderella story but put it in an early 2000s context (and lets be clear, this movie is very early 2000s). Unfortunately, the supporting characters are way more interesting than our romantic leads. Coolidge and King walk away with the movie.
Music: Like Another Cinderella Story after it, this movie has a dual purpose of promoting Duff’s singing career. The soundtrack — which obviously, I owned — basically played like a Hilary Duff album with a Jesse McCartney or MxPx song thrown in for colour. They did at least let Haylie join in on the fun.
Now, Sam and Austin’s first dance to “I’ll Be” by Edwin McCain? What middle school dance dreams are made of.
Fashion: Sam’s gown is… not great. The skirt is fine but the bodice is kind of a mess. Lace and sequins and mesh? Pick one. However, outfitting the stepsisters in colour-coded Juicy Couture tracksuits is perfection.
Ridiculous Stepsister Names: Brianna and Gabriella. If you were in middle and high school in the ’00s, you maybe knew a mean girl named Brianna or Gabriella.
5. The Slipper and the Rose (1976)
Adaptation: If the 1970s were the rise of “New Hollywood,” it’s honestly surprising how old-fashioned this 1976 adaptation feels (maybe a bit less surprising when you realize it wasn’t a Hollywood movie at all, but a British production). This is a great big musical, which isn’t something you saw a lot of in the mid-’70s. It’s big set-pieces, expensive on-location shots and the music of the Sherman Brothers (more on that later).
This adaptation is a staggering two and a half hours long, which means we get to spend a lot more time with the supporting characters. We get way more time with Prince Edward (Richard Chamberlain), who gets a whole character arc and a best friend who has his own romantic woes. There’s a lot of plot in this movie; it’s not always necessary.
Cinderella (Gemma Craven) and the Prince meet for the first time at the ball, but by then you’ve learned enough about both characters on their own to sort of get why they fall in love instantly. The movie does a pretty good job at keeping you guessing if Cinderella and Edward actually will end up together, as class and politics get in the way.
This is a very beautiful film to look at. The on-location shots are stunning, and the scenes with Craven’s Cinderella have a dreamy, gauzy texture that adds to the romantic feel of it all.
I’m genuinely glad I came across this movie. Unlike The Glass Slipper, this feels like a hidden gem. If you have two and a half hours to spare on a Sunday, give it a watch.
Music: So, about those Sherman Brothers songs. They’re not bad. After all, these are the guys that did Mary Poppins. But therein lies the issue: it’s the 1970s and the Sherman Brothers are firmly in their Greatest Hits Era. In more than one song, I’m expecting David Tomlinson to burst through the door and tell me that a British bank is run on precision.
Do we have a song from the family patriarch where he talk-sings and reiterates his narrow view of the world? A song based around a nonsense word? A song sung by the servant class with an extended dance break (with nearly identical choreography, no less)? Yes to all of the above.
The score, however, is beautifully composed by Angela Morley (who was an out trans woman!).
Fashion: The fashion has a clear Rococo influence and I really, really love it. I love the ballgown, and I especially love the pink feather-trimmed cape. This gown definitely makes my top three. But even better is the costume Craven wears in “I Can’t Forget the Melody,” which was designed to be identical to Jean-Honoré Fragonard’s The Swing.
Ridiculous Stepsister Names: Isobella and Palatine. Great work. Especially Palatine, very Evil Stepsister Vibes.
4. Rodgers and Hammerstein’s Cinderella (1997)
Adaptation: Rodgers and Hammerstein’s Cinderella has an interesting origin story. It was originally written as a live television special to take advantage of the new medium (two versions were aired, in 1957 and 1965). It didn’t become a full-fledged film until 1997, when The Wonderful World of Disney programming block was about to relaunch on ABC.
I actually watched this for the first time earlier this year when it dropped on Disney+, and then again immediately after watching Cinderella (2021). Considering R&H’s Cinderella looks like it was filmed on the Disney-MGM Studios backlot and has the best special effects a television budget in 1997 can buy, yet still manages to be so much better than this year’s model says a lot.
The plot isn’t treading any new ground, which makes sense considering this was originally made for broadcast television. Cinderella (Brandy) hits it off with Prince Christopher Rupert (Paolo Montalbán) right in the first scene, but it’s another case of mistaken identity as our Prince is disguised as a peasant. Brandy and Montalbán have chemistry, maybe the most out of any of the romantic leads on this list.
Obviously, the big sell is Whitney Houston as the Fairy Godmother and the big scene she shares with Brandy is just lovely. The entire cast, which includes Bernadette Peters, Whoopi Goldberg, Victor Garber and Jason Alexander, is firing on all cylinders.
One thing that is abundantly clear is how much love was put into this movie. Even with the inherent limitations of television, everyone is trying their hardest to make something special. That counts for a lot.
Music: Rodgers and Hammerstein composed songs you felt like you always knew, even if you were listening to them for the first time. Interestingly, three songs were composed for entirely different properties. The film opens with “The Sweetest Sounds,” which was originally composed for Rodgers’ musical No Strings, but sounds like it always belonged here.
I’d be remiss if I didn’t say I find “Impossible/It’s Possible” infinitely more catchy than other Fairy Godmother songs on this list. It also helps that Whitney Houston is singing it.
Fashion: They got the most important thing right: Cinderella’s gown is one of the best iterations of the blue dress we’ve come to associate with the character. The dress looks beautiful in the ballroom scene, where all of the dancers are wearing a different shade of blue. Plastic glass slippers notwithstanding.
Unfortunately, I can’t say the same for Houston’s gold lamé getup where the jewels look very hastily glued-on. While I get that they were trying to give her Fairy Godmother her own unique look, I wish they had done something with better quality. She’s Whitney, goddamnit! Do better!
Ridiculous Stepsister Names: Minerva and Calliope, names I can absolutely see Bernadette Peters’ evil stepmother giving her daughters.
3. Ever After (1998)
Adaptation: It feels weird to call a Cinderella story “realistic,” but that’s what this one is compared to the rest. Unlike The Glass Slipper’s fake-out, there is no magic to be found and our story is set firmly in the French Renaissance.
Our heroine, Danielle de Barbarac (Drew Barrymore) poses as a noblewoman to buy back a servant whom her stepmother, Baroness Rodmilla de Ghent (Anjelica Huston) sold to slavery. It’s here that Prince Henry (Dougray Scott) mistakes her for a Comtesse — that’s right folks, it’s the Prince who falls for the mistaken identity plot! Henry and the “Comtesse” begin to fall for one another, and Danielle attends the Prince’s ball to reveal herself as a servant. Did I mention the role of fairy godmother is filled by Leonardo da Vinci?
The strength of the film really lies with Danielle and her principles. While Cabello’s Ella wants her shot at participating in an unfair system, Danielle questions why that unfair system should exist at all. Her prized possession is a copy of Thomas More’s Utopia. She saves her Prince, and herself. And she punches out her stepsister.
The liberties taken with the original story never feel forced. Danielle may be a capital-f “Feminist Princess,” but unlike Cinderella (2021) the film never asks for your praise over it. Danielle is allowed to exist in her story as herself, and not as a means to an end. As the film says: it’s not that she lives happily ever after, but that she lived.
Music: This movie is not a musical — but it was later adapted into one. The score, composed by George Fenton, is beautiful. The end credits song, by Texas, is very much a product of 1998.
Fashion: Historical costumes! Historical Renaissance costumes! I’m not as into these as the Rococo looks of The Slipper and the Rose, but the attention to detail and muted colours help ground the historical setting well.
Danielle’s ballgown is her mother’s wedding gown, zhuzhed up with some fairy wings and body glitter (once again, it is 1998). I like it; it feels like something Claire Danes’ might have worn in Romeo + Juliet had it been set in fair Verona.
Ridiculous Stepsister Names: Jacqueline and Marguerite. Passable, as this is a more grounded take on the story but still meets the Three Syllable Rule.
2. Cinderella (1950)
Adaptation: I’m going to need you to show this film some respect. I’m serious. This movie gets a bad rap. It’s the subject of endless “Why Disney Princesses are Bad, Actually” from your favourite clickbait. Hell, even Disney has tried to make amends for it. In the popular lexicon, Disney’s Cinderella is the ultimate sit-around-and-wait-for-a-man-to-save-you, anti-feminist, this-is-why-we-can’t-have-nice-things stock character.
To which I say: have you watched the film lately?
Disney’s Cinderella is many things, but I wouldn’t call her passive or devoid of personality. She’s kind, but she isn’t weak. Not once does she say her goal is to fall in love or marry a prince. She just wants to escape her awful life for a night.
As far as adaptations go, this is the leanest. But one addition stands out: the dress ripping scene. In most stories, Cinderella can’t go to the ball because she doesn’t have a nice dress. The Disney animators realized it’s more effective for her to have the nice dress, then have it torn to shreds by her Stepsisters while her Stepmother looks on.
And let’s talk about the Stepmother. For me, the scariest Disney Villains are the most realistic. Maleficent scared me as a child, but Lady Tremaine is chilling as an adult. In other adaptations, being the Wicked Stepmother is a chance for the actor to ham it up. Voice actress Eleanor Audley plays extremely cool, rarely raising her voice. It’s terrifying.
Maybe it’s cheating to say this about the animated film on the list, but the art direction is stunning. Disney artist Mary Blair was responsible for much of the visual development, and the result is some of the most beautiful shots in the Disney canon. Her colourful, modernist concept art is extremely evident in the final film.
I love this film. I just do. Watch it if you’re feeling sad.
Music: The only thing you need to know is that I cry when the mice sing their little song and fix Cinderella’s dress (“Leave the sewing to the women!” is also a reminder that this was released in 1950).
Fashion: I mean, Zendaya didn’t show up to the 2019 Met Gala in Hilary Duff’s gown. If you think of a Cinderella dress, chances are you’re thinking of Disney’s Cinderella. That’s power. I’m not sleeping on the black choker, either.
Ridiculous Stepsister Names: Anastasia and Drizella. They were the blueprint.
1. Cinderella (2015)
Adaptation: I didn’t say this list would be objective.
Part of my love for this movie comes from the fact that I was in a very, very bad place when I first saw it. My chronic illness was flaring up and I was forced to miss three weeks of classes while I was staying home and getting treatment. One night during those three weeks my mum and I went to see this movie at the theatre.
I’m sure I would have liked this no matter what, but there was a real “right place, right time” thing happening. This got me on a deep emotional level.
Anyway, let’s talk adaptation. Ella (Lily James) had an idyllic childhood with her mother and father. Before she dies, her mother (Hayley Atwell) imparts Ella with the wisdom, “Have courage and be kind.” Years later, her father marries the vain widow, Lady Tremaine (Cate Blanchett, giving the girls and gays everything they want). He dies shortly after and Lady Tremaine lets his estate fall into ruin, leaving Ella as the family’s servant.
Ella and Prince Kit (Richard Madden) meet in the forest, where Kit says he’s an “apprentice” (not a lie, he later points out). The story then largely plays out as we know it. The dress ripping scene remains, and has even more emotional bite when you know Ella’s relationship with her mother. The Prince gets an arc, and the Grand Duke (Stellan Skarsgård) is a secondary villain who gets to do some scheming with Blanchett.
This movie is ostensibly a remake of the 1950 film, but it owes a lot more to Ever After. Like Baroness Rodmilla, Lady Tremaine is resentful of her stepdaughter because of how much she was loved by her father. Ella similarly lives by her principles and the first time she meets her Prince, she’s talking him out of hunting a stag.
Ella saves herself in the end and takes back the power that she’s been denied. When she tells Kit, “I am Cinderella,” it’s a satisfying moment as she reclaims the name her stepfamily used to hurt her with. Her final act to her stepmother is not revenge: it’s forgiveness. Lady Tremaine’s reaction is silent, but devastating.
Director Kenneth Branagh is a mixed bag of a filmmaker, but he’s in his element here. Every frame is a painting, with vibrant colours and ornate setpieces. It’s hard to top the Mary Blair-inspired designs of the original, much less translate them into live-action. Cinderella (2015) comes pretty close.
What can I say? Maybe I just needed to see a movie about a woman who rises above circumstance and gets a fairytale ending. Maybe without my emotional baggage, this is still a truly great film. Maybe art is subjective.
Music: Like Ever After, this is not a musical. And thank god, because the Disney live-action remakes that are musicals actually suck. That said, the Patrick Doyle-composed score is one I have saved in my iTunes Library and it literally sounds like a fairytale.
There is a generic pop single that plays over the credits. I don’t much care for it.
Fashion: Damn, damn, DAMN! Sandy Powell gave us her BEST. She, as they say, understood the assignment. Ella’s iridescent ballgown is a thing to behold, and as a Mariah Carey fan I appreciate the butterfly motif. I also need to show appreciation for her wedding dress, which unlike the animated Cinderella, is not just a revamped version of the ballgown.
Lady Tremaine’s outfits are pieces of art in themselves. Her outfits — and those of the Stepsisters — tell a colour story and is a great homage to the animated film.
Ridiculous Stepsister Names: Also Anastasia and Drizella, because sometimes you don’t mess with a classic. Props to Holliday Grainger and Sophie McShera though, because they’re giving everything.
