Catching Up with the Enchanted Objects from Beauty and the Beast

By William Keck

In real life, sidekicks (usually our little brothers and sisters) can be, well, let’s face it—super annoying. But in Disney animated films, they are the characters who provide the biggest laughs and one-liners. There’s Ariel’s calypso-singing crab. Anna’s buck-toothed snowman. Peter’s jealous pixie. But it’s Beauty and the Beast’s Belle who really hit the sidekick jackpot with an entire castle filled with charming enchanted objects at her service!

Let us take roll-call, shall we? Besides the primary trio of matchmakers—a refined English teapot, a romantic candelabra, and a pompous, worrisome timekeeper, there’s a raucous wardrobe, sexy feather duster, a dustpan with brooms galore, a feisty ottoman, feline pillow, a hot-headed stove, and enough show tune-savvy flatware to fill every kitchen drawer in Belle’s quiet village.

Unlike many components in the film, the enchanted objects (members of the Beast’s household staff who were transformed into objects as part of the Enchantress’ curse) cannot be traced back to the age-old fairy tale from which the film was based. They are original creations of screenwriter Linda Woolverton, who recalls, “making a list of objects in a castle and (placing) them next to their related person on the castle staff.”

David Ogden Stiers, Angela Lansbury, and Jerry Orbach

When it came time to choose voices for the objects, the directive, remembers the film’s producer, Don Hahn, was to seek actors with a background in musical theater. “That’s where Angela Lansbury (above middle) (Mrs. Potts) came from, and Jerry Orbach (above right) (Lumiere), who we all knew from Law & Order but had this big Broadway career before that,” Hahn says. “And David Ogden Stiers (above left) (Cogsworth), the same.”

Having previously collaborated with Disney on the partially animated 1971 fantasy classic Bedknobs and Broomsticks, Lansbury didn’t hesitate when approached to play a Cockney teapot, whom she based on her childhood cook—a “wonderful woman” named Beatie. It is rare nowadays, says Lansbury, when a child does not recognize her voice. “I can be at a supermarket, buying an apple, and a child will suddenly turn to his mother and say, ‘It’s Mrs. Potts!’,” says Lansbury, now 91 (as of 10/16/16). “That’s a curious and lovely event when that happens.”

Woolverton credits Beauty and the Beast’s late lyricist Howard Ashman for helping her create Mrs. Potts’ adventure-seeking son, Chip. “That came about as a joke when I was working with Howard on the characters,” Woolverton recalls. “We already had Mrs. Potts, and I was just fooling around with the idea of a chipped cup. He liked it, so Chip became Mrs. Potts’ son.”

Chip and Mrs. Potts

Actor Bradley Michael Pierce was just 7 years old with no animation experience when he was selected to give Chip a voice. He remembers the filmmakers sitting him down to explain how he was to play the character. “They explained it to me very simply,” says Pierce. “They said, ‘He’s just an ordinary boy. There’s nothing special about the way he has to act, except that he’s come to accept that this is how he is.’ We discussed that he might not even remember being a (human) boy; the only version of life Chip had ever known was this tea cup version.”

It follows then, Pierce reasons, that Chip would naturally ask his mother, “Do I still have to sleep in the cupboard?” once the curse is broken.

And remember when Chip spits water through his teeth while taking his bath? That was a real-life talent Pierce picked up over the summer in his uncle’s hot tub. When Pierce showed off his new trick to his in-studio voice director, he says, “They decided they were going to add that in as a character trait of Chip.”

Now the father of three, Pierce confesses his porcelain roots have come with benefits over the years. Not long ago, he was at Disney California Adventure when his son Gavin spilled the beans about dad to a park cast member guarding an audience barricade. “She kind of geeked out a little bit,” says Pierce, 33. “And as a result we ended up sitting front and center for World of Color.”

Cogsworth and Lumiere

Right up there with Laurel & Hardy and Abbott & Costello, Lumiere and Cogsworth rank high among filmdom’s all-time great comedic duos. But despite the characters’ witty repartee, Orbach (Lumiere)—who passed away in 2004 at age 69—and Stiers (Cogsworth) recorded all their dialogue separately, leaving it up to the animators and editors to create their banter. But a year after Beauty and the Beast’s release, the actors co-starred again in the TV movie Mastergate. It was during that production that Stiers took Orbach aside to confess a long-held secret: that he’d had “the effrontery” to audition for Lumiere prior to Orbach landing the role. Stiers recalls telling Orbach, “Lumiere was so patently your role that I feel this apology is not only long overdue, but has become more heartfelt as time passed.” Stiers remembers Orbach just laughing and giving him a playful punch on the shoulder.

Now 73, Stiers says he is most proud that one of Cogsworth’s signature lines was his own creation. Remember when the Beast asks Cogsworth what he might do to convince Belle of his sincerity? Stiers himself thought up the clever quip: “Oh, flowers… chocolates… promises you don’t intend to keep.” Stiers remembers feeling “almost knighted” when he learned from producers that the line had made it into the film’s final cut. “It was a swell moment.”

Wardrobe

For Laugh-In funny lady Jo Anne Worley, the character of the Wardrobe was a perfect fit for her larger-than-life, fully-inflated persona. Having beat out diminutive Poltergeist actress Zelda Rubinstein, Worley believes she was destined to play the role. “In my backyard, I actually have a wardrobe,” shares the actress, now 79. “It’s a little building where I have all my costumes from Mame, Gypsy, Hello Dolly, Anything Goes—and a lot of funny props, too!”

We can thank Worley for the prominent eyelashes her zany character flashes. “I put them on for the dialogue session,” she says, “and those lashes are now on the Wardrobe.”

Like Lansbury, Worley’s recognizable voice mesmerizes children on a daily basis. And if asked, she’ll gamely belt out her favorite Wardobe line, spoken to Belle as she’s being helped get dressed for dinner: “Let’s see what I got in my drawers!!”

Lana Parrilla Hails the Return of Evil Queen in Season 6 of Once Upon a Time

By Tim Lammers

Move over, Regina Mills: The Evil Queen has separated from her Storybrooke, Maine, alter-ego and is returning with a vengeance in the sixth season of ABC’s hit series Once Upon a Time. Needless to say, series star Lana Parrilla, who, with delectable deviousness, has brought her evil highness to life since the fantasy romance drama kicked off in 2011, couldn’t be more delighted.

Energized by her foreboding proclamation, the Dragon’s heart in hand, during the thrilling conclusion of Season 5 (“This is a war, and it’s just begun. The Queen … is back”), Parrilla is currently in production on the series in Vancouver, Canada. She recently took time out of her busy schedule to talk with D23 and give the legions of Once Upon a Time fans an idea of what to expect when Season 6 premieres on September 25.

D23: Congratulations on Season 6. When you first started, was it the goal of the cast and crew to mainly concentrate on the work of the first season in hopes that the show would find an audience, or did you have your sights set on Season 2, 3 and so on?

Lana Parrilla (LP): I have to say, I had a really good feeling at the start that we were going to go six seasons. I don’t know how far we’re going to go beyond this, but I had a good feeling early on about six. I think it was when I was saying goodbyes to family and friends in L.A. (getting ready to return for Season 2). Ginny Goodwin and I had a going-away party before we left to go to the set in Vancouver, and I just remember my goodbyes being longer and more emotional than other goodbyes. I looked at Ginny and said, “I think we’re going to be up here in Vancouver for awhile,” and she said, “Let’s hope so,” because we loved the show and wanted it to be successful. I would say to [creators] Adam Horowitz and Eddie Kitsis all the time, “We’re going to make it to six seasons,” and they were like, “Come on, don’t jinx it!” I said, “I’m not jinxing it. I’m just really confident!”

Lana Parrilla

D23: Judging by the awesome trailer for Season 6 that debuted at San Diego Comic-Con in July, you can’t help but come away with the feeling that this is going to be a big season for the Evil Queen.

LP: Yes it is. There’s a lot happening with the Evil Queen and Regina—and their face-off—which is fun to do. I can say that the Evil Queen is the real opposition for the heroes this season, and she has her hands in everything right now. She’s really creating turmoil in everyone’s lives, which is fun for me to play.

D23: What details—spoiler-free, of course—can you reveal at this point?

LP: We have the Land of Untold Stories, so we have a lot of new inhabitants who are coming to Storybrooke. One of the stories is based on the characters from Aladdin, so we have Jafar, Aladdin, and Jasmine. The Dr. Jekyll and Mr. Hyde story continues in the first half of the season, and we’ll have Captain Nemo since we’ll start telling the 20,000 Leagues Under the Sea story, which is really cool. Also, Archie Hopper has a nice arc this season, so Raphael Sbarge is coming back and there’s something really fun with him and the Evil Queen. Emma Swan is going through some changes as well. The creators like to say she’s having some PTSD symptoms.

D23: Robin Hood’s death was such a big loss for Regina—and ultimately, fans—last season. Will there be some repercussions stemming from his death that ripple over into Season 6?

LP: I think we’re going to see Regina dealing with that very quietly and privately. She’s not one to share her vulnerabilities so openly. She did with Emma in last season’s finale, but you don’t really see her opening up to everyone about that. Her private moments happen behind closed doors. We just filmed a scene not long ago with Regina dealing with the loss of Robin and Hades. The sisters—Regina and Zelena—are in an interesting place, which makes me sad, because there are a lot of similarities between the two. Still, Regina’s no longer the villain and now the hero, and Zelena is entertaining the hero side, but she’s still very much a villain. You’ll get to see how the sisters deal with their differences, and also with the loss of their loved ones.

Once Upon a Time

D23: Even though she’s, well, evil, the Evil Queen is so beloved by fans. What do you think attributes to the character’s popularity?

LP: I think it’s her complexities. She’s multi-dimensional, very complex, and an extremely layered character, and we’ve had the opportunity to tell the story over the course of, including this season, six years. I always think of the Evil Queen in other films, especially Snow White and the Seven Dwarfs, and we know the story so well, but her lineage only goes so far. We only see so much, but in Once Upon a Time, we’re able to tell so much back-story about the character and we’re able to humanize her in a way we haven’t seen before. She’s not just a villain, she’s a woman who was in love. She’s the daughter of the miller’s daughter. There are so many layers to this character and I think that’s what people really love about her. She’s so complex, but also a lot of fun. She’s deliciously evil. She has these incredible costumes. She’s theatrical at times and likes to put on a show. She’s coy and playful and temperamental, and she’s sassy. There are so many adjectives to describe her.

Evil Queen - Once Upon a Time

D23: The character arc you’ve been given throughout the series is so rare. Not every actor gets an opportunity explore a character so deeply.

LP: It depends on what’s written, and I think the creators have done a really wonderful job with the Evil Queen’s arc. Her arc is an inspiring arc, especially for youth. The message I like to lead with is, “Good can come from broken.” I love how this broken character—who had her heart broken by her mother, made terrible decisions and became the Evil Queen—still found a way, and I think it’s because of her relationship with Henry, to make better choices in her life and take a look at herself. There’s a lot of self-reflection in this character that started happening in the second and third season that I find very inspiring. I know from meeting thousands of our fans that that is something that really resonates with them. It’s a very positive message that we’re able to put out in the world, especially in such difficult times. The overall theme of our show is hope, and that’s exactly what we need in the world today. Even though Emma Swan’s character represents hope, I still believe that Regina Mills/The Evil Queen represents hope because she was so broken, yet look how far she’s come.

D23: It’s so easy to see through your in-person encounters and social media interaction that the fans of Once Upon a Time mean the world to you. They really love you, Lana!

LP: And I love them. We wouldn’t be here without their loyalty and passion. Honestly, it’s what keeps us all going. I’ve never met such dedicated fans in my life. We have 200–300 fans that fly from all over the world to come and see us up in Steveston (British Columbia), which is our exterior for Storybrooke. They’re there 14-and-a-half-hours with us, every day.  It’s quite impressive.

Mrs. Potts and Chip Tea Set

Enjoy tea for two with this darling duo from Beauty and the Beast as your décor.

Reminder
Cutting and scoring are intended only for grown-ups!

Materials

  • 8 1/2” x 11” cardstock (we recommend 110-pound paper for best results)
  • Scissors
  • Cutting knife
  • Ruler
  • Glue

Directions

  1. Print all the pieces on cardstock. Click here to download.
  1. Have a grown-up cut out the pieces.
  1. Score along the dashed lines. Use a ruler to ensure edges are straight.
  1. Fold the pieces where indicated.
  1. To make Mrs. Potts: Take the pages labeled with Mrs. Potts Side 1 and Mrs. Potts Side 2. Glue tab A to the underside of 1, B to 2, C to 3, D to 4, E to 5, F to 6, G to 7, H to 8, I to 9, J to 10, K to 11, L to 12, M to 13, N to 14, and O to 15.
  1. To make Mrs. Potts’ cover: Glue tab A to the underside of 1, B to 2, C to 3, D to 4, E to 5, F to 6, and G to 7. Attach the Mrs. Potts Cover Handle to the Mrs. Potts Cover by gluing tabs H to 8 and I to 9.
  1. To make Mrs. Potts’ spout: Glue Tab A to the underside of 1, B to 2, C to 3, D to 4, E to 5, F to 6, G to 7, and H to 8. Glue I to 16 on Mrs. Potts Side 1 to finish.
  1. To make Mrs. Potts’ handle: Glue Tab A to the underside of 1, B to 2, C to 3, and D to 4. Glue E to 17 and F to 18 on Mrs. Potts Side 2 to finish.
  1. To make Chip: Glue all of the A tabs to the undersides of the 1s, and glue Tab B to 2.
  1. To make Chip’s saucer: Glue all of the C tabs to the undersides of the 3s, and glue Tab D to 4.

Cogsworth Cupcakes

It’s time for a treat! Enjoy these charming Cogsworth cupcakes from our friends at Disney Family.

Ingredients
Peach-colored frosting (Note: to make your own, simply stir 1 drop of red food coloring and 2 to 3 drops of yellow food coloring into 1 cup of butter cream frosting. This should be enough to frost 1/2 dozen cupcakes)
A cupcake
A Tootsie Roll Midgee
Waxed paper
Rolling pin
Toothpick
An almond sliver
A mini marshmallow
A pinch of confectioner’s sugar
2 chocolate chips
Red Twizzler candy
Black decorator’s frosting or gel
A yellow Sweetie candy

Preparation

  1. Frost the cupcake and set it aside while you create Cogsworth’s hair.
  2. Microwave a Tootsie Roll Midgee for up to 6 seconds to slightly soften it. Then sandwich the candy between two pieces of waxed paper and use the rolling pin to flatten it to about 1/8 inch thickness. Use a knife to cut two 1/2- by 2-inch strips from the flattened candy.
  3. Working with one strip at a time, use a toothpick to roll the ends in opposite directions.
  4. Stick one end of an almond sliver into the top of the cupcake and then press the rolled Midgee strips in place on the sides of it.
  5. For eyes, slice a mini marshmallow in half and sprinkle confectioner’s sugar on the sticky sides. Flatten both pieces with your thumb. Then press a chocolate chip, tip down, into the center of each. Press the eyes in place on the cupcake, leaving room to add eyebrows later.
  6. For Cogsworth’s mouth, press a 2 3/4-inch length of red Twizzler candy into the frosting, forming a wide smile. Add short lengths of Twizzler to the ends of the mouth.
  7. Use the black decorator’s frosting or gel to pipe on eyebrows. Next, pipe on clock hands that extend from the point where the nose will go to just below the mouth. For Cogsworth’s nose, press a Sweeties candy in place, covering the very tops of the clock hands.

Mrs. Potts Cake Pops

The perfect afternoon tea treat! Enjoy these Mrs. Potts cake pops from our friends at Disney Family.

Ingredients
1 box cake mix (bake as directed on box for 13×9 cake)
One 16-ounce can of ready-made frosting
Wax paper
Baking sheets
White candy coating
Purple candy melts (teapot lid and base)
White licorice pastilles for spout (we used Good & Plenty)
Yellow candy necklace pieces (handle)
Pink rainbow chip sprinkles (knob on lid)
Pink colorstick sprinkles (mouth)
Pink, blue and white confetti sprinkles (eyes and base decorations)
Blue, black and peach edible ink pens (facial details)
Toothpicks
Paper lollipop sticks
Styrofoam block

Preparation

  1. After cake is cooked and cooled completely, crumble into a large bowl. Note: Light-colored cakes will work best with white candy melts. Darker colored cakes may show through the coating.
  2. With a large spoon, mix crumbled cake thoroughly with about 3/4 of the can of frosting. You won’t need the rest.
  3. Roll mixture into quarter size cake balls and place on a wax paper covered baking sheet. Place cake balls in the freezer for about 15 minutes to firm them up. You can transfer them to the refrigerator to keep chilled and avoid freezing.
  4. When they are firm, shape the balls so the bottom is slightly fuller than the top. You want the size to be proportional to the candy melts as pictured.
  5. Return the cake pops to the refrigerator to maintain firmness.
  6. Melt white candy coating in a heat-proof plastic bowl so that the coating is 3-4 inches deep for easy dipping. Melt in the microwave in 30 second intervals on low, stirring in between. Repeat until melted and smooth.
  7. Remove a couple of cake balls at a time from the refrigerator to work with.
  8. Dip the tip of a lollipop stick into the melted coating and insert into the bottom of the teapot. Then, dip one end of a white licorice candy spout into the melted candy coating. Attach the spout to the side of the cake pop and the coating will set like glue.
  9. Place in a styrofoam block to dry. After a few minutes you can carefully dip the entire cake pop with spout attached into the bowl of melted candy coating. Dip and remove in one motion without stirring. Make sure the entire cake ball is covered. Using a deep bowl is helpful here. If your coating is too thick, you can add a few drops of vegetable oil or shortening to help thin it and make it easier to work with. Remove and allow any excess coating to fall off the pop and back into the bowl.
  10. Before the coating sets, attach one purple candy melt on top of the cake pop for the lid and one yellow candy necklace piece in the back for the handle. Repeat with the remaining pops. Place in a styrofoam block to dry.
  11. When dry, use a toothpick to dot a tiny amount of coating in position for the eyes and attach one white confetti sprinkle for each eye. Use the same technique to attach the rainbow chip for the knob and the colorstick sprinkle for the mouth.
  12. Use a black edible ink pen to draw pupils, eyelashes and eyebrows. Use the blue edible ink pen to draw on eyelids and the peach pen to draw the blush.
  13. You can stop here for Mrs. Potts cake pops or continue to add base decorations without the lollipop stick.
  14. To add base decorations, carefully twist and remove the lollipop stick. Place a small amount of melted white candy coating on the bottom of the teapot and attach to another purple candy melt (flat side down).
  15.  You can add finishing details by dotting on a small amount of coating and attaching alternating pink and blue confetti sprinkles to the base.

Set Sail with Moana‘s Newest Trailer—Plus More in News Briefs

By Courtney Potter

Mahalo! It’s a New Moana Trailer!

One of the most anticipated films of the year, Walt Disney Animation Studios’ Moana (directed by the legendary Ron Clements and John Musker) hits theaters this November and the excitement is palpable! (We seriously cannot wait to see this film, y’all.)

And luckily, our patience was just rewarded with a brand-new trailer—in which we meet brave, adventurous Moana (Auli’i Cravalho) and her unlikely new ally Maui (Dwayne Johnson). We also get a look at the insane (albeit somewhat adorable) kakamora and Moana’s hilarious rooster sidekick Heihei.

Mark those calendars—Moana sails into theaters on November 23!

022415_news-briefs-February-24-2015-feat-2

Save the Date!
Be sure to mark these upcoming Disney events on your calendar:

D23 and Walt Disney Archives
September 23
Lunch with a Disney Legend: Bill Sullivan
September 24
D23 Presents Bedknobs and Broomsticks: 45 Bewitching Years (Florida)
October 5
D23’s Sip & Scream
October 5
D23 Behind-the-Scenes Experience: A Midnight Soirée at the Tower of Terror
October 8
D23’s Age of Believing: 45 Years of Bedknobs and Broomsticks (California)
November 19–20
D23 Destination D: Amazing Adventures
July 14-16, 2017
D23 Expo 2017
Studios
September 23, 2016
Queen of Katwe opens in theaters
November 4, 2016
Doctor Strange opens in theaters
November 23, 2016
Moana opens in theaters
December 16, 2016
Rogue One: A Star Wars Story opens in theaters
Parks
September 2, 8, 11, 13, 16, 18, 20, 23, 25, 29, 30; October 2, 4, 6, 7, 10, 11, 13, 14, 16, 18, 20, 21, 23, 25, 27, 28, 30, 31
Mickey’s Not-So-Scary Halloween Party at Walt Disney World Resort
September 23, 26, 28, 30
October 3, 5, 7, 10, 12, 14, 17, 19, 21, 24, 26, 29, 31

Mickey’s Halloween Party at Disneyland Resort
September 2–October 29 (Friday and Saturday Nights, plus October 31)
Club Villain, special ticketed event at Disney’s Hollywood Studios
September 14–November 14, 2016
Epcot International Food & Wine Festival
November 7, 8, 10, 11, 13, 15, 18, 27, 29; December 1, 2, 4, 6, 8, 9, 11, 13, 15, 16, 18, 22
Mickey’s Very Merry Christmas Party at Walt Disney World Resort
Television
October 3
Milo Murphy’s Law premieres on Disney XD at 8 p.m. EDT

Emmy News: Regina King Wins for ABC’s American Crime

It’s that time of year when all your favorite TV stars descend on Los Angeles to celebrate their own… Just this past Sunday, the 68th Emmy® Awards were announced in a live telecast on ABC, hosted by the inimitable Jimmy Kimmel. And the great news? American Crime co-star Regina King was honored for the second consecutive year as Outstanding Supporting Actress in a Limited Series or a Movie! (Regina is also a graduate of Disney|ABC’s prestigious Directing Program, and has recently directed episodes of ABC’s Scandal and The Catch.)

In addition, several other ABC shows were honored at the Creative Arts Emmys, presented a week earlier on Saturday, September 10, and Sunday, September 11. Dancing with the Stars took home the trophy for Outstanding Technical Direction, Camerawork, Video Control for a Series; Shark Tank was named Outstanding Structured Reality Program; and It’s Your 50th Christmas, Charlie Brown! received the Emmy for Outstanding Children’s Program. Congrats to all the winners! Yay, television!

Monstober

“Monstober” is Coming… This October on Disney Channel!

Ready for something a little bit scary… and a whole lotta fun? This October, “Monstober” returns to Disney Channel for a special month-long Halloween celebration—and it all begins Saturday, October 1! The spooktacular event includes Halloween-themed episodes of hit Disney Channel series; the premiere of the Disney Channel Original Movie The Swap; special short-form content premiering nightly as part of “Monstober Theater”; and the return of Mal-oween—which includes an encore performance of Disney’s Descendants and the second-season premiere of the animated shorts Descendants: Wicked World.

And that’s not all! (We know, right?!) The October lineup also includes a week-long premiere event of Best Friends Whenever, with new episodes airing Sunday, October 2, through Thursday, October 6 (9–9:30 p.m. EDT), and the big U.S. premiere of The Lodge, with five back-to-back episodes premiering nightly beginning Monday, October 17 at 5 p.m. EDT). It’s truly an embarrassment of Halloween-y riches, and it all kicks off in just a few weeks’ time. Time to bust out some candy corn and caramel apples!

Preview Scenes from Marvel’s Doctor Strange at Disney Parks

Marvel’s latest cinematic adventure, Doctor Strange, will conjure all kinds of magic in theaters later this year… but for those of you who want a sneak peek at the sorcerer, we’ve got great news: Beginning October 7, you’ll be able to preview scenes from Doctor Strange at Disney Parks on both coasts! At Disney California Adventure Park, the bewitching preview will be presented (in 3-D, with special in-theater effects!) at the Sunset Showcase Theater in Hollywood Land—while guests at Disney’s Hollywood Studios at Walt Disney World Resort will get to see their sneak peek as part of the One Man’s Dream attraction. Plus, even before catching this special 10-minute preview, check out the film’s latest featurette, above…

Marvel’s Doctor Strange introduces audiences to world-famous neurosurgeon Dr. Stephen Strange (Benedict Cumberbatch), who—in his quest for healing after a horrific car accident—discovers powerful magic in a mysterious place known as Kamar-Taj… and it just happens to be the front line of a battle against dark forces bent on destroying our reality. Look for the film in theaters on November 4!

25 Days of Christmas

The Countdown to Freeform’s 25 Days of Christmas Has Begun

We totally get it—it’s a little bit difficult to imagine all the fun of Christmas 2016 when we haven’t even made it to Halloween yet. But the jolliest of holidays is just under 100 days away… which means Freeform is already gearing up for its ever-popular, jingle-bell’d 25 Days of Christmas programming event!

It’s true; the home for more than two weeks of chockablock holiday-themed fun was christened with a new name since its last yuletide foray… but the network still has all of the same movies that Christmas fans have come to love, including Elf, National Lampoon’s Christmas Vacation, The Santa Clause, The Polar Express, and much more.

Watch for 25 Days of Christmas to kick off on December 1. We’re readying our sleigh as we speak (it needs a bit of work from last season… ).

Celebrating a Proud 15 Years: Five Things You Love About The Proud Family

By Jocelyn Buhlman

The Proud Family, which premiered on Disney Channel on September 21, 2001, marks its 15th anniversary. In honor of that milestone, D23 looks back on the top five things we loved about watching this classic Disney Channel Original Series.

The Proud Family

The Theme Song By Destiny’s Child
When you think of “Here Comes Penny Proud,” the opening theme of The Proud Family, how can you not remember relating to Beyoncé singing “They’ll make you scream/and make you wanna sing/It’s a family thing”? But Destiny’s Child wasn’t the only performer on this song—Beyoncé’s sister, Solange, sang lead on the song, proving how important family is both on the show and off.

The Fun and Fabulous Guest Stars
The voice cast of The Proud Family was frequently star-studded, whether from a silly cameo, like Steve Harvey voicing Penny’s credit card, or a more serious role, like when Samuel L. Jackson, Raven-Symoné, and Vivca A. Fox lent their voices to members of a homeless family who taught the Prouds the meaning of Kwaanza. No matter what the role, there was always an opportunity to say “Hey, I know that voice!” when watching the show.

The Proud Family

Important Life Lessons About being a High Schooler
Penny Proud may have had a lot of crazy experiences on the show, but she also was a character we could all relate to. Whether she was dealing with gossipy friends, tackling tough classes, or struggling with her dad’s “no dating” rule, we could all take comfort in watching Penny grow and learn while making her way through high school.

Crossover Episodes with Your Favorite Cartoons
Sometimes amazing things happen when worlds collide, like when The Proud Family crossed over with Lilo and Stitch: The Animated Series. If you ever wondered what it would be like for Penny to hang out with Lilo and her alien-catching friends, this special episode let you see for yourself.

The Proud Family

The Second-Ever Animated Disney Channel Original Movie (DCOM)
To bring a fitting end to two great seasons, The Proud Family Movie became an instant classic in the DCOM canon, featuring everything from mysterious tropical islands and crazy scientists to Penny and her friends becoming music superstars! Watching the Proud Family save the world the perfect way to end the run of a Disney Channel classic.

Tales of the Songs and Score for Beauty and the Beast

By Alexander Rannie

In hindsight it seems a no-brainer that Beauty and the Beast, Disney’s 30th animated feature, would have begun life as a musical. But as many folks know, this wasn’t the case. Songwriters Howard Ashman and Alan Menken, fresh off their success with The Little Mermaid, immediately began working on songs for Aladdin. Beauty and the Beast was being developed for Disney by a British animation director and was intended to be a straight, non-musical feature. When, after viewing early story reels (filmed storyboard drawings, with accompanying temporary dialog (scratch tracks) and music (temp tracks)), the powers-that-be decided to start anew with a different director, and Disney executive Jeffrey Katzenberg approached composer Ashman and lyricist Menken and asked them to become involved in the project. They agreed, setting aside work on Aladdin, with Ashman taking on the additional role of executive producer.

In Ashman’s notebooks, now housed at the Library of Congress, he outlined brief character studies for each of Beauty’s dramatis personae under the heading “The Important Stuff.” In particular his assessment of the relationship between the Beast (“The King”/”Yul Brynner”) and Belle (“[She] tames him. Teaches him table-manners. To dress. To love music. To dance. TO READ.”) provides the framework upon which the story and songs would be placed. As a lyricist, Ashman knew that he had to understand his characters backwards and forwards before he could begin to put words in their mouths.

Howard Ashman and Alan Menken

Working quickly, Ashman and Menken recorded song demos with Howard performing the majority of the vocals while Alan played piano, singing along from the keyboard when a second voice was required. It was principally Ashman who thought out what action was to take place during a song. Just as a choreographer tells a dancer where and when to move, Ashman, working with Menken, figured out when and where a character would speak or sing. The opening number, “Belle,” amply demonstrates this plotting of action. Within a single song we’re introduced to Belle and hear her sing to herself of her wishes (“There must be more than this provincial life…”), we hear her talk to the baker and the bookseller, we hear what the townspeople think of Belle (“She’s different from the rest of us…”), and we’re introduced to Gaston and LeFou and hear the former sing of his desire for Belle (“Right from the moment when I met her, saw her…”). It’s an incredibly compact four minutes of entertaining exposition—and all set to music!

To facilitate the collaboration between the songwriters and artists in further plotting out, or “routining,” the action of the songs, producer Don Hahn, directors Gary Trousdale and Kirk Wise, story supervisor Roger Allers, several story artists, including Brenda Chapman, Chris Sanders, Kevin Lima, and Sue Nichols, along with art director Brian McEntee, frequently made their way to Fishkill, New York (near to Howard Ashman’s home), or a Disney boardroom in New York City, where they would work out every bar of music in a song and its corresponding on-screen action. Producer Hahn recalls a particular moment toward the end of “Belle” where Roger Allers wanted more back and forth among the townspeople. So, with Menken at an electric piano, and Ashman riding herd, phrases and suggestions of action were tossed back and forth as to what people could sing. The resulting verbal and musical counterpoint as Gaston follows Belle through the crowd (“Bonjour/Pardon!/Good day/Mais oui!/You call this bacon?…”) allowed for a great deal of visual choreography, and a building of energy toward a big finish, while staying focused on the story point of the song.

Belle and Beast dancing

One tune that didn’t require as much elaborate routining was the title song, “Beauty and the Beast.” When it became readily apparent that the ballroom sequence was going to be something special, Disney executive Jeffrey Katzenberg asked Howard Ashman and Alan Menken if the song “Beauty and the Beast” could be extended. Howard replied, “no,” as he’d used up every rhyme for Beast except for “priest, yeast, creased, and greased.”

As songs were completed and routined, they were arranged by Alan Menken and Danny Troob, orchestrated by Troob, and then recorded under the baton of conductor David Friedman (who also contributed vocal arrangements). Sessions took place in the now long-gone, and much missed, B.M.G. Recordings Studios on West 44th Street in New York City. As with Mermaid, Ashman insisted that the singers be allowed to perform the songs at the same time the orchestra was playing—not as an overdub to a pre-recorded track. The vitality of the live orchestra, Ashman argued, would energize the singers, almost as if they were giving a performance before a live audience.

Don Hahn

Producer Don Hahn, and film editor John Carnochan, were eager to have the recorded songs in hand so that storyreels could be put together and scenes handed out to animators. Beauty’s schedule was already a truncated one—down to two years from the usual four—due to the false-start of the non-musical version. And having final recordings of songs meant that no further changes could be made to their respective sequences.

Belle and Beast

One song that didn’t make it into the original version of the film was “Human Again,” wherein the household objects sing of their imminent hope to be returned to their human forms. It was replaced by “Something There,” in which Belle and the Beast begin to grow fonder of one another. “Something There” is the only song that was recorded in Los Angeles and is also the only time we get to hear the Beast sing.

Once the entire film was edited and locked—meaning, ostensibly, no further changes would be made—the directors, Wise and Trousdale, and producer, Don Hahn, met with composer Alan Menken in a screening room for the music spotting session. It’s at this point that decisions are made as to where musical cues begin and end, and what the nature of each cue should be. For comedic scenes the composer may be asked to “Mickey Mouse” the action. “‘Mickey Mousing’,” in the words of author and critic Mindy Aloff, “does indeed refer to a kind of musical illustration, in which some aspect of the music—the melody, the rhythm, the instrumentation—seems to duplicate (and therefore to reinforce or amplify) an action we see on-screen.” So when a character hops up a staircase, the music hops as well. When a character slides down a bannister, the music descends as well. And so on. For quieter scenes the underscore may be called upon to illuminate the emotional underpinning of a character’s state of mind or mood, rather than specifically mirror on-screen action

In some cues a tune previously heard in the film is reprised, albeit without lyrics. For example, during the battle for the castle (where the household objects defend their home from the mob), the melody for “Be Our Guest”—previously associated with the household objects—accompanies the chaos. And when Belle and the Beast reunite during the climactic battle on the rooftop of the castle, strains of “Something There” can be heard as they extend their arms toward each other.

Beast dying

To underscore the death of the Beast, Menken originally wrote a deeply moving, but very sad cue. (With the recent passing of Alan’s writing partner, executive producer and lyricist Howard Ashman, it would be hard to imagine a more difficult task than writing music for the death of the Beast.) But Disney executive Jeffrey Katzenberg saw something different in the scene. As producer Don Hahn recalled, Jeffrey felt that the cue should play the love between Belle and the Beast, not his death. “The heart [of the scene] is in the love.” Menken rewrote the cue, which was quickly recorded in New York. (Though most of the underscore was recorded in Los Angeles, this last cue was recorded back east in the same studio where the songs had been recorded earlier.) Editor John Carnochan immediately left the recording session, tape in hand, and took a red-eye flight back to Los Angeles so that the music could be speedily incorporated into the already in-progress final mixing sessions.

As with The Little Mermaid, Ashman and Menken took a cue from earlier Disney animated features, and concluded Beauty and the Beast with an off-screen chorus reprising a musical moment of import—in the case of Beauty, the last few lines of the title song:

Certain as the sun
Rising in the east
Tale as old as time
Song as old as rhyme
Beauty and the Beast

At the heart of Beauty and the Beast are the love and self-sacrifice that are finally expressed by the two lead characters. Ashman and Menken’s songs—brought to life by dozens of talented arrangers, orchestrators, and musicians—inspired Disney artists to new heights. Just as with Walt Disney’s Snow White and the Seven Dwarfs some 54 years earlier, audiences forgot they were watching a cartoon and simply fell in love with Belle and the Beast.

Special thanks to Don Hahn and John Carnochan.

Lupita Nyong’o and the Inspiration Behind Queen of Katwe

“Can you do big things from such a small place?”

This is the question that Phiona Mutesi (played by newcomer Madina Nalwanga) asks her mother, Harriet (Oscar®-winner Lupita Nyong’o), in Disney’s new feature Queen of Katwe, which tells the true story of a young girl from the streets of Kampala, Uganda, whose world opens up and changes rapidly through the game of chess. Katwe is a small place and it’s a difficult place—one of Kampala’s most poverty-stricken slums—where Phiona and her family spend their days selling vegetables, struggling to get by. Robert Katende (Golden Globe nominee David Oyelowo) runs a chess program for Katwe children, who he counsels, “Use your minds and you will all find safety.” Phiona quickly takes to the game that makes it possible for the smallest of pawns to become the most formidable of queens, but while she can see eight moves ahead in a chess match, she finds it more challenging to figure out where she actually belongs in the world.

Lupita Nyong’o

When actress Lupita Nyong’o first read the film’s screenplay, she found herself in tears just 10 pages into the script and she made up her mind to play Harriet, a proud and strong-willed mother of four at the tender age of 30 years old. “I was moved by the characters who I found on the page,” Nyong’o tells D23. “The fact that this was a story that centered on a little girl trying to just navigate her world. But [I was moved by] Harriet as a character—this woman who sees the world very differently from how I see the world—a woman who’s afraid of dreams and suspicious of them, and has had so much strife in her life that has brought her to this point.”

It’s Harriet, Nyong’o believes, who instilled Phiona with such grit. “She is working with the tools that life has given her,” Nyong’o says, acknowledging that Harriet’s self-preservation and independence were “radical” for women in Katwe. But while Robert Katende and chess are a catalyst for Phiona, Nyong’o believes that timing is key. She points out, “What Phiona has that Harriet doesn’t is her youth. The rules have not been set for Phiona, and I think that’s why this is such an important story, because Robert Katende comes to her at a time when she’s still highly impressionable and has not yet decided what life is all about. So she’s able to be more daring.”

Nyong’o compares the real-life Harriet and her seemingly unending reservoir of strength to a baobab tree. “It’s a tree that grows in semi-arid conditions that has a very thick trunk,” she observes. “They preserve themselves in very extreme climatic conditions, and that’s Harriet. There’s something guarded about her, something enigmatic and watchful, and I wanted to honor that in my performance of her.”

The time that Nyong’o spent with the real-life Phiona was equally valuable. “I saw Katwe through Phiona’s eyes,” Nyong’o says of a tour that she was given by Phiona and Robert Katende, a tour that included the places where Phiona and Harriet took shelter at times when they were homeless and the places where they’d lived. “That’s a memory that I’ll hold dear to me for a very long time,” she says.

Nyong’o confesses that she had to “unlearn” chess for the role of Harriet, and she laughs about being defeated by a 6-year-old in her most recent game. “I can’t really claim any skill at it,” she jokes. But Nyong’o had what she describes as the “incredible” opportunity to receive a chess lesson from Robert Katende, and affirms, “He has a way of making chess feel so vital to life.”

Though she’d recently appeared in Star Wars: The Force Awakens (as Maz Kanata) alongside screen icon Harrison Ford, Nyong’o admits that she was a little nervous about working with the young actors in Queen of Katwe. “There’s an added responsibility because, of course, you become more than just the leader of yourself—you have to lead the pack,” she explains, but those jitters quickly gave way to inspiration. “They were so absorbent and curious and excited to learn, and children just don’t have to pretend. They go at the imaginative work with such truthfulness and that was so refreshing,” she says.

Rakasha

In addition to Queen of Katwe and Star Wars: The Force Awakens, this year Lupita also lent her voice to mother wolf Raksha in Disney’s live-action/photorealistic feature The Jungle Book. She’ll be entering the Marvel Cinematic Universe when she appears in Marvel’s Black Panther, slated for release in 2018. Nyong’o is in the unique position of having acted in films that touch just about every part of Disney, and she credits the Company for the way it inspires children in a lasting way.

Mickey Mouse

“I think Disney is a studio that is keenly interested in sparking the imagination of children in particular. Disney movies are the ones you remember from your childhood,” Nyong’o says, sharing that her earliest Disney memory is watching Mickey Mouse and the magic brooms of “The Sorcerer’s Apprentice” sequence in Fantasia. “[The films] touch you at a time when you’re highly impressionable and when your imagination is wild and alive and rich. In a sense, I guess they help to sustain that kind of wonder quality that we all need—always.”

Queen of Katwe opens in U.S. theaters in limited release on Friday, September 23, expanding wide September 30, 2016.