As discussed by many writers, Buffy the Vampire Slayer takes a subversive delight in rewriting the core clichés of television and film. As Rhonda V. Wilcox and David Lavery note in their introduction to Fighting the Forces (2002), BtVS reverses the gendered cliché in the horror film of the young girl helplessly screaming in the face of an overwhelming attacker. As Wilcox argues in “There will never be a ‘Very Special’ Buffy” (Slayage 2, 2001), BtVS shows that "life and language are not so simple as problem-of-the-week tv". But Buffy's subversive recasting of genres does not stop with film and television. As Sarah E. Skwire notes in “Whose Side Are You On, Anyway” in Fighting the Forces, Buffy “turns the didactic nature of the fairy tale on its head.” In this paper, I will examine another fairy tale that is rewritten by Buffy, that of Disney. Jack Zipes showed in Happily Ever After (1997) that Disney fairy tales from Snow White to the Lion King follow a rigid set of conventions in which there is always a happy ending, accompanied by much singing. Zipes argues that this Disney model has become one of the most dominant in American culture. I will argue that throughout its seven year run, and perhaps most pointedly in the musical episode, BtVS subverts Disney's conventions. Interestingly, this brings Buffy closer to the original oral folklore that Disney (and the Grimms before him) had rewritten.