Pushkin

Exterior, ocean, the ship, magic hour.

Ariel grabs onto a portal window.

She hoists herself out of the sea.

Gales the side of the ship toward the deck.

The final bars of canon in D float down from above as Ariel ascends.

Do you, Prince Eric, take Ursula to have and to hold in sickness and in health for as long as you both shall live?

Ariel throws one leg over the starboard railing.

Gales, enraptured by the perfection of the bride and groom, don't even notice her arrival.

Eric looks deep into Ursula's eyes hypnotized.

I do.

My name is Malcolm Gladwell.

You're listening to revisionist history.

My podcast about things overlooked and misunderstood.

This episode is the third and final part of our investigation into the Walt Disney Company's 1989 Princess Blockbuster, the Little Mermaid.

In parts one and two, we told you what was wrong with the movie.

In this part three, revisionist history brings you our production of the Little Mermaid,

a version finally fit for your children.

Allow me to reintroduce you to the creative force behind our version of the Little Mermaid, the actor and screenwriter, Britt Marling.

We met her in the previous episode where I asked her to reimagine a better ending for the Little Mermaid,

to identify precisely where Disney went wrong and fix it.

Look, there's something very true at the center of the Little Mermaid, and that's what makes it sticky, both the Hans version and the animated version that came from Disney.

...