The Cinderella Story is one in which virtually every child, more so girls cut their teeth on romance literature, film, or animation (Kelley 87). The fairy tale has been immortalized in numerous versions that exist as children’s books, and it would be difficult to imagine a girl in the western world who has not at least had some contact with the story by the time she is in her teens (Kelley 88). Like a typical fairy tale, it is fairly predictable as far as the action goes. Nevertheless, this does not steal the glamour from the overall story, it has been made and remade in numerous versions of children’s books, movie/s, and animations and with each generation, new culturally adjusted and technologically enhanced versions are produced (Kelley 89). The book is archetypical of old school romance, involving an unfairly treated girl who is, however, appear more attractive and interesting than her cruel stepfamily. By the description alone, the reader has automatically routed for Cinderella as underdogs have always occupied a soft place in the hearts of most readers. Many of the clichés one finds in the movie and the animation rendition of this and, indeed, numerous other fairy tale romances, can be traced back to the written version of Cinderella (Kelley 87). The idea of a poor princess looking for her prince charming, evil stepfamily and fairy godmothers may appear iconic and universal, but they only exist because the story brought them to life (Weiner 47). The book version, which is also the original published version, is one of the stories in the Grimm’s Fairytales collection. It is from this that all the other spin-offs ranging from the movies in the 50s to the 90s and most recently the Cinderella story was created. The original story gives details about her mother’s illness and subsequent death and gives a solid background to how badly she was treated by her stepsister and mother who took away her nice clothes and dressed her in rags before putting him in the kitchen to slave all day. In a sense, the book version is not really of a low-class girl who beats the odds to leap from over her upper-class step-siblings, who lacked beauty or brain. She was essentially a highborn aimed at recapturing her position from the lowborn that had taken over her home. Despite the fact that the story is popularly seen as one where the poor can rise if they have the drive to achieve, the original book version was essentially produced from a stratified cocoon (Kelley 87; Philip 98). The book version also focuses on magical elements, which are largely absent from subsequent productions, more so in the modern film genre. For example, when Cinderella is told to sort lentils from the ashes among other impossible tasks in a way to stop her from attending the ball. She calls upon the birds in the air to lend their assistance, although for what reason they would obey her is not clear. However, it is worth noting once again that in the ex-post factor setting, using magic to get antagonist out of problems was an acceptable way of straightening out kinks in the plot without losing authenticity as it were. The origin of the fairy godmother in the story is explained in a “logical” albeit magical way as she is seen to hav