Maleficent: When The Villain Was Never the Monster πͺ½❤☀
What if the evil fairy who cursed Sleeping Beauty wasn't evil at all? What if she was actually the hero of her own story—and maybe even the real hero of Aurora's?
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This is not a tale about a princess who has slept for a thousand years, but one of how a woman finally awakens from the wounds, betrayals, and images of evil placed upon her. Maleficent takes us back, in 2014, to the world of Sleeping Beauty, not from the tower of a princess, but from beneath the black wings of the fairy that was once loved and betrayed.
It opens
in a world we never saw in Sleeping Beauty—Maleficent's backstory. She wasn't
born a villain; she was a powerful young fairy, protector of the Moors (a
magical realm), with magnificent wings and pure of heart. She believed in
people's goodness, in trusting them, and in love.
Then she
met Stefan, a human boy from the neighboring kingdom. They formed a real
connection, possibly even love. For years, their friendship was the bridge
between the human and fairy worlds.
But Stefan
was ambitious: consumed by greed and the desire for power, he made a choice
that would destroy everything—to betray Maleficent in the cruelest of ways,
drugging her and cutting off her wings to steal her ability to fly, her
freedom, her very essence—to prove his loyalty to the dying king and claim the
throne.
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It wasn't
only physical mutilation; it was the violation of trust that ran so deep it
made her heart turn to stone.
When
Stefan becomes king and his daughter Aurora is born, Maleficent crashes the
christening. This is the scene we know from the classic film—the dark fairy
cursing the innocent baby. But now we understand why.
The curse
isn't random villainy. It's revenge. It's pain made manifest. "Before the
sun sets on her sixteenth birthday, she will prick her finger on a spinning
wheel and fall into a sleep like death—a sleep from which she will never
awaken." The only thing that can break it? True love's kiss, which
Maleficent bitterly declares doesn't exist.
Stefan is
horrified, but it is too late. The curse is cast.
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| Picture from Pinterest |
Against
her will, against every wall she's built around her heart, Maleficent begins to
love this child. Not out of revenge for Stefan, but as a mother loves a
daughter. Aurora becomes the light stolen from her life.
Around
Aurora's sixteenth birthday, in desperation, Maleficent seeks to retract the
curse. But such strong magic cannot even be broken by the one who sent the
spell. The curse is bound to happen; no matter what, it will take place.
Aurora
pricks her finger. She falls into her death-sleep. Stefan, paranoid and cruel
after years of guilt, has become the real monster in this story.
In the
classic tale, Prince Phillip's kiss wakes Aurora—true love conquers all, roll
credits. But Maleficent flips the script entirely.
The prince
kisses Aurora. Nothing happens. Because they hardly know each other. There's no
true love there, just fairy tale fantasy.
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| Picture from Pinterest |
True love is not romantic; instead, it is the unadulterated, selfless love of the person who learned to love another human being more than herself.
This is
what makes Maleficent such a powerful entry in "Princess Tales Beyond
Disney"—even though it IS Disney, it completely dismantles Disney's own
formula.
The
villain becomes the hero. The "true love's kiss" isn't from a prince
but from a mother figure. The real monster is the human king driven by greed
and ambition. And the princess's salvation doesn't come from being rescued by a
man but from the love of a woman who learned to open her heart again. The film
delves into trauma, betrayal, and healing in ways classic fairy tales never
did. Maleficent's arc from innocent fairy to broken, vengeful creature to
loving guardian shows that people aren't born evil—they're made that way by the
cruelty of others.
But they
can also heal if given a reason to.
Maleficent
is not a retelling of the story of Sleeping Beauty; rather, it deconstructs
absolutely everything the original stood for: giving voice to the silenced,
contextualizing the condemned, and showing how the line that defines hero
versus villain often comes down to whoever gets to tell the story.
What do
you think? Have
you ever rooted for the "bad guy" once you understood their side? π

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