Liminality, both etymologically and practically, is generally meant to be navigated through, not permanently occupied. The Disney "Descendants" series, marketed for ages seven to twelve, is an example of children's literature that engages with liminality as not only a lasting choice but also one of joy and reconciliation. The books appealed to the author because, according to what they had read online ahead of ordering them, they offered opportunities to question common tropes and stereotypes found across Disney formats and children's literature, including complicating common good/evil binaries and offering multiple empowered girls as protagonists. The book was not a version of the film; the film was not a version of the book. They were companion texts in the same storyline that used multiple storytelling modalities, as the characters and plotlines connected across screen and page. This article focuses on the "Descendants" series to consider the ways that this collection defies conventional literary boundaries and engages with liminality in complex ways. In these discussions, race, gender, and language are important elements of liminal spaces. What is particularly noteworthy across the literature is the way that liminalities are consistently framed as transformative and positive opportunities, while also often being temporary and transitory states.