Should the Little Mermaid Be White?*

Researchers in Toruń have determined that Poles do not like actors in films whose skin color is different from the original character. For us, as for much of the world, that means the Little Mermaid should be white.

Last year, an Egyptian lawyer sued Netflix, arguing it was unacceptable that Black actress Adele James played Cleopatra in a documentary and that, in his opinion, doing so was an attack on Egyptian identity. The lawyer reminded us that this was not the first attempt to introduce a story suggesting that the Egyptians were Black. The hypothesis was put forward by Senegalese historian Cheikh Anta Diop and became popular not only in southern Africa, but also among the Black community of the United States. Monica Hanna, an Egyptian archaeologist, responded that African countries should not build their position on Afrocentrism using skin color, but rather they should present their own history to the world. That is because, according to current knowledge, confirmed by Mostafa Waziri, secretary-general of the 160-year-old Supreme Council of Antiquities, an organization responsible for Egypt’s cultural heritage, “Queen Cleopatra had fair skin and Hellenic (i.e., Greek) roots.” Similar problems with ethnicity emerge in other productions. The famous series ” Bridgerton,” set in 19th-century London, is full of Black aristocracy; the movie “The Green Knight,” based on Arthurian legends wherein all the characters are white, stars Indian actor Dev Patel; and in the “Riverdale” series inspired by Archie Comics, in which most of the characters are white, the writers cast many actors of color in key roles. However, it seems that Black characters arouse the most emotion in productions such as “Game of Thrones,” in which the white character of Lord Corlys Velaryon is played by Black actor Steve Toussaint; “The Witcher” with its Black elves; and “The Little Mermaid” with Black actress Halle Bailey who plays Ariel. For reasons unknown, viewers find the elves and the mermaid the most difficult to tolerate, viewers who apparently know better about what skin color fairy-tale characters should have. In any case, the hashtag #NotMyAriel and its variations have appeared thousands of times on Instagram.

It may seem that casting actors without regard for their ethnicity allows for greater diversity on screen and in the theater. But a growing number of critics believe that we should take this into account rather than ignore it. It’s hard to say where this criticism comes from. Is it a manifestation of white superiority, prejudice, or perhaps a notion about characters who are white in the minds of white people, although their historical counterparts were not necessarily so, like, say, Alexandre Dumas or Alexander Pushkin?

Meanwhile, producers no longer want films and series to have all-white casts. This is where the concept of “color-conscious casting” comes into play, which involves selecting a cast that is representative of society, as well as “color-blind casting,” which means assembling a cast without regard to actors’ skin color. Theoretically, the idea is to focus on individual acting skills and talent, which would mean that skin color is irrelevant. But really, it’s all about providing equal opportunities for everyone and not taking into account the “discriminatory” color of one’s skin. The intent is to do away with harmful stereotypes. It’s just that viewers find it impossible to ignore skin color.

’Political Correctness Has Gone Too Far’

Poles hold a similar opinion and are also skeptical about colorblind casting. This is confirmed by the results of a study conducted by second and third-year media studies students (Faculty of Philosophy and Social Sciences) at the Nicolaus Copernicus University in Toruń, who analyzed the phenomenon under the supervision of Andrzej Meler. The team studied data collected through a survey and reviewed comments in discussions about films and TV series on Filmweb, Rotten Tomatoes, Facebook, Reddit, etc. It turned out, as we read in the summary of the study’s results, that Poles “most dislike changing characters’ original skin color in historical productions.” According to the researchers, this is related to sentiment about the original.

The researchers also asked about “the use of colorblind casting in new versions of old Polish films, in adaptations of games or novels, and in new versions of fairy tales from childhood.” Poles are most accepting of casting characters of a different ethnic origin in new versions of old Polish films, but it is still outrageous to 55% of respondents. It is most conceivable for young people (18-24 years old), women, and moviegoers. Streaming enthusiasts and people with little interest in cinematography express negative opinions about colorblind casting.

The study shows that “Polish men and women believe that non-white actors are favored in films and that political correctness has gone too far.” This sentiment is strongest among men, people aged 35-44, and Poles with higher levels of education. Researchers are puzzled by this last finding. “It’s possible that for people with greater social capital (and education is one of its components), colorblind casting seems like unsophisticated social engineering, perhaps fulfilling its function in the culture in which it was invented, but less suited to the Polish context,” they speculate.

*Editor’s note: The original Polish version of this article is available with a paid subscription.