Princess Culture

In Cinderella and Princess Culture, by Peggy Orenstein, she guides us through her inner-debate on the true nature of princesses. Orenstein writes on what she calls a princess craze (326) and how major companies like Disney, Mattel, and Saks have joined in the delirium to ensnare young girls with pink and sparkles. It is possible that Orenstein is trying to tell us that princesses themselves are not the problem it is the marketing of princesses that has the potential to steal freedom from young girls.Firstly, Orenstein reveals some of the eye-popping figures that companies have been making on princesses. counterbalance with stringent competition from Mattel and Saks, Disney settle down tops the charts with an annual profit of $3 billion, globally (327). With a myriad (327) of products pouring into the market, Orenstein claims that pink, it seems, is the new gold (327). By pointing surface all of the new products dealing with princesses, perhaps Orenstein is attempting to clear anxiety to the sheer size of the princess craze (326) and how it is potentially detrimental to young girls because, if they barely see princess toys, then their power to choose what they want has been diminished drastically.Orenstein worries openly about what exposing her daughter to stereotypes will do to her, wondering what playing fine Mermaid is teaching her daughter (327). Orenstein then moves on to reevaluate her feminist views, but feels that mayhap she is still surfing a washed-out second wave of womens liberation movement in a third-wave world. Maybe princesses are in fact a sign of progress (328). maybe Orenstein is trying to get readers to realize that creation a princess could be a new form of feminism and emancipation for girls instead of a symbol of dependence.Orenstein gives readers the inside scoop on how the get of Disney princesses reads like a fairy tale (328) to advertize investigate the sour the market has on young girls. Orenstein speaks to Andy Mooney, an employee at Disney, about the formation of the Disney Princess line. Mooney says that he saw that girls were already dressing as princesses and to create a detail line of Disney products was to allow these girls to do what theyre doing anyway (328).With Mooneys words, readers are incline to think that, if girls already want to be princesses, then there mightiness be nothing wrong with the marketing of princesses after all. However, Orenstein then points out that, according to a survey by Girls Inc., school-age girls overwhelmingly report a paralyzing hug to be perfect (329). Orensteins statement brings the reader back to realizing the commodious potential marketing has to take away independence from young girls, further solidifying Orensteins worry and mistrust of the commercial empires that have vie a part in the rise of princesses.From the beginning, Orenstein appears critical of the princess craze (326) and the infatuated marketing machine that has risen up beside it. O renstein wonders, however, whether or not being a princess is truly bad for a girls baron to remain independent, but this thought does not last. As Orensteins thoughts draw to a close, it is apparent that she has made no definite conclusions about princesses, marketing, and who is to blame. Perhaps readers can take away the thought that, even with the market still looming over girls heads, there is still the potential to be an independent princess.