With an animated film, Snow White and the Seven Dwarfs, (1937.) the Disney Corporation lunched a series of Disney Princes movies. This particular series started a period, today remembered as The Domestic Era. Following the Snow White and the Seven Dwarfs, Disney produced The Sleeping Beauty and Cinderella. At the time, Disney treated female roles (as well as the role of a female) with prejudice and as a cliché. Generally, speaking of gender roles in relation to their male counterparts, the Disney Corporation represents women/princesses as cognitively inferior. They are not decision makers. They lack reflection. However, in order to fill the gap produced as their lack of cognition, they ought to look perfect—they are simply gorgeous—in a word, unreal. Their only dream is to find the love of their life. Unlike the three predecessors-‘housewives’ Ariel, Belle, Jasmine, Pocahontas and Mulan—the second phase princesses, are utterly ambitious and rebellious. While adapting their fictional characters and seemingly modernizing them, Disney in fact adapted its characters to the epochal, social, gender-based and trendy horizon to expectations. The main reason the corporation did it, was for the princesses not to fall out of trend. They ‘suddenly’ started to think, to reflect, and to fight for themselves. In so doing, they consequently begun to contribute to society in general and, little by little, to follow their dreams. Aside of being portrayed as thinking beings, the second phase princesses are now of different races and ethnicities. Surrendering the whiteness (not only as a race, a color... but also as a norm,) Disney not only imagines but also executes a specific matrix progress. What, however remains as a surplus in imagination is evident in perpetuating the patriarchal values as well as in creating stereotypes. Speaking of Disney, representing the non-Western cultures, the most pertinent problem that remains is the one of cultural appropriation. The latter, unfortunately, survives as one of the central ingredients of the Disney procedure. Moana, the focal point and the main character I observe in my close reading of the movie is the last among the Disney Princesses. She is a girl from Pacific Isles—the daughter of a tribal Chief—the female character that Disney choose to open its third phase with—the phase that focuses on independent and free-spirited princesses. It is for this particular phase that triggered most affirmative reactions and acclaims— particularly from feminist critics. Therefore, Moana acclaimed the status of the feminist animated movie. What is of utmost interest in my work is the following: is this in fact true? Does Moana’s character really fulfills the requirements of the role ascribed to her? And, even if she does, is she really a paradigmatic figure for such context—the context of a feminist fairy tale in which a Polynesian princess contains all the traditional criteria of The Disney matrix—even the one both adapted and corrected back in the 90s?