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Shrek 2 ends up not so much an extension of Shrek's story as an improved retelling. The theme remains the same—we should not judge a book by its cover, even if that cover is lime green and covered in warts. The first Shrek declared open season on Disney clichés, throwing not-so-subtle jabs at the way Mickey Mouse's house has become preoccupied with stories of characters who long to be something they're not.

In defense of those "transformation stories," such fairy tales as Sleeping Beauty and Cinderella speak to our deep suspicion that we are not what we were meant to be. It's no accident that such stories recur throughout history and cultures. They strike chords that resonate within us because we are, indeed, flawed, "asleep," incomplete. On some level, we're waiting for the day that our Creator will redeem us from our "cursed" state, purge us of our sins, save us from a wicked world, and raise us up to the ideal existence he intended.

Shrek and Puss-in-Boots warm up to each other

Nevertheless, Disney deserved a critique. It's not Disney's focus on fairy tales that is the problem; it's the way their versions of fairy tales eliminate the complexity of the source material, and the way they have inclined generations toward the idea that a true happy ending involves the blessing of Barbie-like good looks.

This time around, it's not Disney that's the butt of the joke (although there are few more unmistakable potshots taken at the studio giant along the way). Shrek 2 has the "beauties" of Beverly Hills in its sights. With a red carpet welcome party hosted by a Joan Rivers look-alike, the filmmakers make a mockery of Oscar glitz and glamour. Through the Fairy Godmother's exultation in the power of her potions, we see a media-wise perspective on the culture of cosmetic surgery.

Celebrity culture has polluted popular imaginations with poor definitions of beauty. On "reality" TV, women and men give up their natural appearances for artificial beauty in order to gain acceptance and temporary happiness. One such show is called The Swan, a reference to the famous fairy tale of the ugly duckling. These shows only reinforce the insecurities of viewers who have been sold a lie. They tell us that we have to change our exterior in order to be truly satisfied. The Shrek movies remind us that it is not our appearance that needs changing, but our hearts. Further, it affirms that no matter what we look like, we all have value, gifts, and the potential to truly make a difference.

But the implications go as far as viewers care to take them. Shrek 2's critique applies to any culture that has its codes of behavior and appearance. The land of Far Far Away might be reflecting playground ethics or high school culture. But it might also be your political party. It might be your health club. It could be your neighborhood, or your nation. It might sometimes even be the church.

Yes, even Christian "culture" has its prejudices, tending to jump to unflattering conclusions about unusual visitors. They may not be green-skinned or smelly. But they might have colorful language, an audacious sense of jewelry, or some ideas about love, politics, sexuality, or even diet that is dissonant with our own. How often do we wish we could change a stranger's vocabulary, appearance, or manners so that we can feel more comfortable with them? Certainly we have room to be concerned about inappropriate behavior, because choices can lead to serious consequences. But if we approach others with an aim to change them rather than an aim to know them, to love them, and to exemplify a better life for them, we make ourselves ugly with arrogance in the process.

Another adventure for Shrek and Donkey

Will Shrek give in to the pressure, and conform to the Far Far Away idea of beautiful? Will he and Donkey succumb to Fairy Godmother's tempting offer of an extreme makeover? Moviegoers can rest easy. A saint is known by his response to temptations, and in the land of fairy tales, Shrek and Fiona are holy fools.

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