Nowadays, it is undeniable that Disney has been influential in instilling certain perspectives regarding gender roles through the films it has offered to the mainstream. While there have been a significant number of scholarly studies investigating the negotiations of gender represented through a collection of Disney princess films, the notion of Disney parenthood remains understudied. In addition to the insufficient studies on the concept of Disney parenthood, its relation to queerness is far more disregarded despite its potential contribution to a new perception of parenthood and familial formation. Thus, I apply two relevant concepts from queer studies: heteronormativity and queer kinship, as the main theoretical frameworks, to examine the selected Disney films in order to investigate how heteronormativity addresses specific aspects of forming a family, how it demonises queerness through familial formation, and how the notion of queer kinship is able to subvert Disney’s heteronormative approach to constructing a family. The selection of Disney films includes Snow White and the Seven Dwarfs (1937), Cinderella (1950), and Tangled (2010), analysed through the lens of heteronormativity, and Maleficent (2014) and Maleficent: Mistress of Evil (2019), examined through queer kinship perspectives. I argue that Disney has placed a strong emphasis on the heteronormative way of developing a family and has criticised queerness as discrepant from the normative pattern. However, Maleficent (2014) and Maleficent: Mistress of Evil (2019) adopt the notion of queer kinship as a technique to challenge the heteronormative way of forming a family and offer an alternative approach to familial formation.