One of the reasons fairy tales work is that they are so obviously not real. Their fantastical, exaggerated qualities help make the horror, weirdness and romantic impossibilities easier to process. And while it wasn’t exactly frightening, Disney’s iconic animated musical Beauty and the Beast, part of the late-80s/early 90s “Disney Renaissance”, had an understanding of how to build Gothic contrast, moreso than even the 18th-century French original, in which the Beast is not Beauty’s jailor but her doting servant. There was a strangeness to Beauty and the Beast‘s obviously warped story; not just the Stockholm Syndrome infatuation, or the intense…