Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
Once upon a time, Disney’s live-action remakes were gilded cash cows, reliable as sunrise. Then came Snow White (2025), a film so steeped in controversy it’s less a fairy tale and more a Hollywood horror story.
Leaked set photos revealed the crime scene: dwarfs replaced with CGI homunculi straight out of a beta-stage video game, a forest that looked less like an enchanted kingdom and more like a screensaver. And at the heart of it all? Rachel Zegler, a talented actress caught in a culture war crossfire while a £410 million (₹3,970 crore) budget haemorrhaged in real time.
Hollywood’s magic mirror is cracked, and the reflection isn’t pretty.
ACT II: THE DWARF DEBACLE (Or, how Peter Dinklage set Disney’s PR on fire)
Peter Dinklage, the Game of Thrones icon and Hollywood’s loudest dwarfism advocate, called out Disney’s remake as “****ing backward.” The studio panicked. Their solution? Erase the seven dwarfs and replace them with a “diverse band of magical creatures” rendered in CGI.
Rachel Zegler as Snow White—caught between a fairy-tale and a cultural firestormInstagram/SnowWhitemovie
Cue the firestorm.
“They erased us twice,” fumed actor Danny Woodburn from Seinfeld. “First by sanitising our stories, then by digitising our jobs.” The backlash only grew when it was revealed that Martin Klebba from Pirates of the Caribbean would be playing all seven dwarfs via motion capture. Because, apparently, representation is best achieved by one actor playing an entire community.
The Sin: Using performative progressivism as a smokescreen for profit.
Disney’s CGI-heavy remake faces backlash for its overreliance on digital landscapesInstagram/SnowWhitemovie
ACT III: CGI’S FAUSTIAN BARGAIN
CGI was meant to set imagination free. Instead, it built a gilded cage.
From The Lion King (2019)’s dead-eyed lions to Ant-Man 3’s CGI soup, Hollywood keeps churning out lifeless, high-budget tech demos. Snow White falls into the same trap: an over-reliance on CGI that drains every ounce of magic from the screen.
Now let us compare that to Dune: Part Two’s visceral, sand-choked landscapes, Fury Road’s brutal, bone-rattling car chases, Avatar: The Way of Water’s breathtaking fusion of practical and digital. The lesson? Audiences crave texture, weight, reality.
Snow White (2025) joins the ranks of Hollywood’s most expensive, high-risk productionsInstagram/SnowWhitemovie
Hollywood, however, is too busy deep faking its own obsolescence.
ACT IV: THE AI OVERLORDS COMETH
Disney’s The Mandalorian used AI to generate entire planets. Now, industry whispers warn of “render farms replacing resumes.” Writers' rooms fear a future where scripts are AI-generated templates, repeating the same formulas in pixel-perfect monotony.
If studios can deepfake actors and motion-capture entire species, what’s stopping them from replacing human performances altogether? Snow White’s CGI dwarfs are harbingers of an industry willing to trade authenticity for algorithms.
Box office predictions place Snow White among Disney’s most divisive live-action filmsInstagram/SnowWhitemovie
The Horror: The day Hollywood realises it’s cheaper to code actors than pay them.
ACT V: THE AUDIENCE STRIKES BACK
Box office numbers don’t lie.
Barbie : £1.1 billion (₹10,650 crore)—a fever-dream spectacle made with practical sets and sheer creativity.
The Little Mermaid : £456 million (₹4,400 crore)—a CGI-smeared nostalgia cash grab that barely broke even.
Oppenheimer : £707 million (₹6,850 crore)—practical IMAX explosions.
Quantumania : £374 million (₹3,620 crore)—a quantum mess of AI-generated sludge.
The reimagined fairy-tale—does it still hold the same enchantment?Instagram/SnowWhitemovie
The verdict? Practical is revolutionary. Snow White, with its plastic landscapes and CGI crutches, ignored the memo. Early tracking suggests a flop of John Carter proportions.
ACT VI: THE HYBRID HOPE
Not all CGI is cursed. When used right, it’s sorcery.
Avatar 2’s water physics? Flawless.
Dune’s sandworms? Terrifyingly tangible, right?
Digital dreams or a pixelated nightmare? Snow White divides audiencesInstagram/SnowWhitemovie
The fix? Maybe a hybrid revolution?
Cast real actors + maybe enhance with CGI (see: Lord of the Rings’ scale tricks)
Try building real sets, then augment (like Dune’s brutalist world)
Pay VFX artists their worth (Marvel’s burnout crisis is a crime)
Disney had the budget, the time, the legacy. Instead, they chose the path of least resistance, and sadly, it shows.
ACT VII: THE CURSE OF THE SLEEPING STUDIO
Snow White is more than just a bad remake. It’s a referendum.
Will Hollywood keep chasing algorithmic trends or rediscover the alchemy of real filmmaking? Will it listen to marginalised actors or render them obsolete?
Gal Gadot commands the screen as the Evil Queen, exuding regal menace and icy charmInstagram/SnowWhitemovie
The magic mirror has spoken:
“You’re the fairest of them all until you forget what ‘fair’ means.”
Now, will the industry eat the poison apple? Or spit it out and wake up?
FADE TO BLACK
Nostalgia vs. innovation—does Snow White find the balance?Instagram/SnowWhitemovie
At a time when more and more of us are feeling the overload of restlessness, stress, and anxiety – caused by work, family, and mass media – Rishab Sharma’s Sitar for Mental Health is just what is needed.
His show isn’t just a performance – independent of the audience – but an interactive movement that explores the intersection of sound, consciousness, and wellbeing. From the outset, the audience become part of the music and its hypnotic qualities.
To create this effect, Sharma draws upon the ancient raga system to tap into the therapeutic essence of Indian music, using tone, rhythm, and resonance to restore balance to the audience’s psyche.
In effect, the concert is – in parts - a trace-like meditation to the inner consciousness, a dialogue between the body and the soul. In other parts, it’s a raucous fusion of classic ragas and hits from popular culture – there’s even a quick nod to The Game of Thrones. It’s this modern fusion with just the right mix of spirituality and pop that makes the show an extraordinary blend that is soothing, serene, and tranquil.
Glimpses from Rishab Sharma's concert
The show opens with a short biographical film that highlights Sharma’s own battle with anxiety and depression, and the way the sitar has helped him to fight those mental demons. Sharma (a fourth generation of satarists) refers to his music guru, the late Ravi Shanker, his isolation during the lockdown, and the numerous international accolades he has received over the last few years (he’s still only 27).
After a light-hearted introduction, Sharma begins with a short pranayama (breathing exercise) to prepare the audience for the transcendental experience. The show is clearly a focus on mental health and wellbeing aspects which in recent years, have highlighted in social policies.
It’s no hyperbole to say that Sharma’s ragas unfold with astonishing grace and artistry. Though they are all beautifully composed, some of the pieces are particularly moving. For instance, Kailashon Ke Vaasiis a powerful work inspired by Lord Shiva’s cosmic abode. The slow-burning tune is spiritually rich, and as the other instruments joined in, the performance lifted into another realm. Every pluck and pause of the sitar is measured as if Sharma knows what the audience is feeling. With some members brimming with tears, the auditorium becomes a collective experience of shared memory. It’s as if the music and his strumming of the sitar is like a wormhole into our deep consciousness.
Other pieces seem more delicately composed – quiet and personal. Roslyn for instance, has a certain restraint, melancholy, and vulnerability. The silence between the notes speak as loudly as the notes themselves.
The sitar, with its shimmering overtones and elastic glides, becomes a tool for emotional release. The interplay between sitar and tabla creates a pulsating energy that gently realigns the listener’s attention inward, offering an experience that is simultaneously grounding and transcendent.
Glimpses from Rishab Sharma's concert
The finale ShivTaandav is, of course, a beautiful and emotional tribute to Sharma’s Hindu roots and the audience – all standing – felt a certain religious and cultural pride in seeing the passion with which this was delivered. Sheer poetry in motion.
In the end, Sharma’s performance leaves the listener not just musically enriched, but spiritually and emotionally renewed. This is entertainment and therapy at its finest – a rare and beautiful gift in our restless age of modernity and cacophony of life. If you are to see one classical performance this year, this is it.
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