Disney offers original animated feature writers nothing for re-using their words in live-action remakes.
Aladdin is a white fantasy, and that’s hardly surprising, because the film is basically some white guy’s foggy notion of the Orient… . Aladdin is thus fixed firmly within the gaze of white supremacy—the superior, Christian society that is not mentioned directly, but alluded to in juxtaposition to the brutal depictions of a hybrid Arab-South Asian culture and the film’s underlying anti-Islam messaging. At the time of its release, Aladdin served as a panacea, a sweeping solution to the vacuum of non-white narratives for children, callously delivered in a continuation of its rich racist legacy. This movie was, essentially, a way to justify neocolonial, imperialist white feminism.
Molly's Monsters 