Overall, this is good.

First, they made a smart decision to take the story further in time and focus on Ariel’s  daughter, not create a new situation all about Ariel. They do work in Ariel turning back into a mermaid, but they give her a darn good reason to do it. And to the extent that this plot rehashes the first—daughter longs for other life, rebels against family, bargains with sea witch—it’s done in reverse, showing the opposite side of the coin, and places Ariel to some extent in the role of Triton, making overprotective mistakes even if she’s gentler about it. As a bonus, Melody’s age nearly matches how much actual time passed for the audience between release of the original movie (1989) and release of the sequel (2000). Plus it’s just really enjoyable to see how Ariel’s life developed after the end of the first movie.

Second, they got back most of the original voice cast. Sometimes people are genuinely unavailable (even deceased), but too many sequels either don’t want to pay the original voice actors or don’t have scripts good enough to interest them. But audiences definitely want the real character voices.

Third, on the whole the story makes sense and holds together. The emotional arc rings true and provides a reason for the movie/special to be here. There are no gaping plot holes, glaring inconsistencies, or wild coincidences to keep the action moving or provide resolution.

That’s not to say there aren’t problems.

One, we have to overlook the implausibly long lives of some characters. Others (like Max the dog), if not dead, would be too old to be as active as they’re portrayed. Surely Grimsby would at least be retired.

Two, it’s a bit of a stretch that nobody can find Morgana for twelve years. Possibly the ice cavern is the top of an island/iceberg that floats around, not a stationary target, which would help. And of course Triton isn’t going to be intently searching the entire time—and maybe we’re supposed to think he stopped looking altogether after the wall was put up.

Third, the wall itself is dubious. Is Ariel’s reaction really going to be to wall off the sea entirely? This is hardly the only solution. And even if she did choose the wall, why does that entail cutting off all ties with Triton and keeping her daughter completely ignorant of her heritage? The decision to build a wall can kind of be explained but doesn’t feel convincing.

Worse than any story shortcomings, however, the songs fall short. At one point I wanted to say they would’ve been better off leaving out songs entirely; but music was such an essential part of The Little Mermaid that everyone expects it to have a role in the sequel, and the girl is named Melody! You’ve got to have the characters singing songs. We know Jodi Benson can sing, so I don’t understand why the songs featuring Ariel are so lifeless.

“For One Moment” ought to be the emotional highlight—the moviemakers doubtless meant for it to be, but it doesn’t fully rise to the occasion. It’s like the ingredients are all there but aren’t coming together right, a cake that was mixed poorly or underbaked. Did they need a bigger orchestra holding up the vocals? Did a musical director not spend enough time pulling the best performances out of the two leads? Were people involved, at whatever level, not given enough time to make it right? It isn’t bad, it’s just isn’t great, and suffers inevitably by comparison with everything in the original film. It’s not fair to expect everyone to be on the level of Menken and Ashman, and Disney is hardly going to go out and hire, say, Steven Sondheim for this production, but this one song at least needed extra magic it didn’t get. It frustrates me because I think the song could’ve gotten there, and almost did.

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Triton knows exactly what to do to torment that big, bad bully shark.

The appearance of the wall in the time-passing moment is quite effective. The wall is ominous.

There are truths that children need to know about themselves, and when you conceal those truths, disaster results. It’s easy to say “they’re too young, we’ll explain later, when they’re older,” but life shows us that parents tend to be extraordinarily unwilling to ever admit the time has come, and inevitably the child feels cheated or resentful when the truth finally comes out.

Morgana knows where Melody is, and we might wonder why she hasn’t done anything to the girl in all this time. But Morgana hasn’t spent twelve years plotting to destroy Melody, she’s spent twelve years plotting to get the trident. Melody was never more than a tool on the way to that goal, and the wall is apparently enough to keep her looking for different tools (at least until Melody touching the magic pendant draws Morgana’s attention back to her). So to that extent the wall did work.

If this sea witch wants the same object as the last one did, she is explicitly trying to outdo her sister, so there’s a reason for the repetition. Note that the actual motivation is different—Ursula had a personal score to settle on top of wanting power. (Morgana does too, but it’s not with Triton.) Is Morgana not as scary or as competent as Ursula? Well, the story makes clear Morgana was always considered second-best.

Most of what Morgana tells Melody in the seduction sequence is quite true. “Triton stole my trident” is obviously baloney, but “Your mother kept this from you” and “You’re not just some human” are spot-on, and even the part about the mermaid transformation being temporary turns out to be accurate.

With some reflection, Melody might ask herself, “If Morgana can’t get the trident back by herself what makes me think I can get it?” Melody might be old enough to ask this, but the answer is that the thief knows Morgana and guards will be on the alert for her, but no one will be suspicious of innocent young mermaid Melody.

Sharks grow new teeth constantly. Knocking out Undertow’s teeth isn’t a long-term solution, although we can hope that without Morgana he won’t be chasing down Triton’s family to cause them more trouble. He’ll probably remain a bully, but maybe he’s practical enough to decide that being big again is good enough and he’s better off keeping clear of the Sea King instead of trying to settle the score by himself.

I am going to assume that Melody goes and stays with her grandfather underwater for a month or two every summer, and he makes her a mermaid for that time, and whether she wants to live as human or merfolk in the end is something she can decide when she’s older. For now she can experience both lives and learn who she really is.

Maybe Melody is the ancestor of the type of mermaid seen in Splash, able to have legs on land and a tail in the sea, because Triton someday magically changes her to be that way and she happens to pass this trait on to her children. (Did you know Splash was the first movie produced by Disney’s live-action studio Touchstone Pictures?)

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In this story I truly appreciate the idea of claiming your uniqueness and taking hold of what makes you different from everyone else. You don’t need to give away what makes you special and become something ordinary.

Also see:
The Little Mermaid
The Little Mermaid: Ariel’s Beginning