Well, contrary to Bella's assertions, no, even old pre-Grmm versions of Snow White say that her mother (later "step-mother" in Grimm's second version) was beautiful, but her beauty was slowly starting to fade, but also a villain.
One stereotype that has enjoyed some "deconstructing" in recent years is the role of women in fairy-tales: In fairytales, traditionally there are only two kinds of women -- helpless "damsels in distress" who sit around and let themselves get into trouble through their own naivete and then just wait around to get rescued; if that doesn't float you, the other kind of fairy-tale woman is the evil witch or "heartless" mother. The Grimms also messed with Hansel & Gretel -- in the original, it was their *mother* whose idea it was to leave them stranded in the woods because they could not afford to feed them, and then they encounter another evil woman, the wicked witch who plans to cook and eat them (and in some versions, this is the secret identity of their mother, regardless, in plays of Hansel & Gretel, traditionally both their mother and the witch are played by the same woman). This formula has been "deconstructed" in recent years by Hollywood, seeking to redefine the traditional fairytale "heroine" as cunning, intelligent, brave, or at the very least, competent ; similarly, the "evil witch" is getting her own "deconstruction" treatment (as evidenced in the popular book and stageplay, _Wicked_, as well as in the Neil Gaiman short story "Snow, Glass, Apples", which deconstructs Snow White) -- this is a reflection of the slowly-changing ideals of Western society.
Now, men don't exactly have incredibly varied roles, either, but their roles are also clear and distinct: they are either heroes or villians. And "good men" rescue women -- though some men (like Hansel & Gretel's father) get to enjoy the role of only being "evil" by association of being somehow "entrapped" by an evil woman (and, as in some versions of Hansel & Gretel, when the protagonists prevail, the "bad men by association" are rewarded for having good hearts, despite having poor judgement in women). Women don't get afforded that luxury in traditional fairy tales, which are very much like a sort of "propaganda" for conditioning children into stereotypical and heteronormative societal roles. The roles of men in fairyt-ales aren't being "deconstructed" by modernism as earnestly as the roles of women.
Some fairy-tales have deviated from this formula such as a boy or man looking to better himself is assisted by a magical animal (like traditional versions of "Puss In Boots" and Carlo Collodi's _Pinnochio_). And a still more-modern fairy-tale scenario is where a young girl (though usually in the 10-13 years age bracket) becomes lost in some magical land and must rescue a loved one or herself (_The Wizard of Oz_, _Alice In Wonderland_, _Peter Pan & Wendy_, even Jim Henson's _Labyrinth_ and Neil Gaiman's recent venture _Mirrormask_ follow a similar formula) -- like the young man version, this is often translated as an allegory of growing up by attaining a sense of selflessness (this is especially true of _Labyrinth_: if you remember Sarah's lessons, they are "Don't take things for granted", "Life isn't fair and that's just the way that it is", "things aren't always what they seem", etc...). The difference between the two is simple and rather stereotypical -- young men get a magical animal and/or fairy (who, in Pinnochio, is debatably a mother figure) pretty much doing it all for them (lesson: Boys always get what they want, often with very little effort, and people will bend over backwards to see them earn fame and fortune, or at least a comfortable life); girls, on the other hand, my get some helpful advice (Labyrinth) or make some friends along the way who may or may not be especially helpful (Wizard of Oz, Mirrormask), but girls have to go and do it all themselves (lesson: girls have to work extra-hard for what they want, and often with little, if any, help from others).
The protagonists of either gender are always good-looking, even if their perceived attractiveness has nothing to do with the story (unlike _Beauty & the Beast_, where the beauty's attractiveness is important to the moral about seeing people's inner beauty). The antagonists, are often typically unattractive, but there are exceptions to this rule -- the antagonist in the traditional Snow White story is beautiful, but growing older and fears her daughter is taking her place as the most beautiful in all the land (this is another example of where the protagonist's attractiveness is important to the plot), and since her daughter "wins" in the end, the lesson there is "good girls are not vain"/"vanity is uglier than physical features" (Snow White is sweet, naive, and generous as well as beautiful, she also is not quick to just and seems completely oblivious to how attractive she is).
Of course, Disney was the first production studio to deconstruct the "fairy-tale villains are ugly" stereotype. Their "classic" animated villains --the Wicked Queen in Snow White, Maleficent the Evil Fairy in Sleeping Beauty, Jafar in Aladdin-- all were created with a rather "regal" appearance, and there have been few exceptions to this in their productions (the gaunt animated version of Cruella DeVil and the corpulent drag-queen inspired Sea Hag from _The Little Mermaid_ are notable for their exaggerated features and gaudy make-up and fashions). "The good guys" in Disney films who are not necessarily protagonists have been drawn in a wide array of shapes, sizes, and appearances (such as the chubby, dwarfish Sultan in _Aladdin_).