As is the case for most Americans living today, I grew up on Disney. I loved the classic princess movies, The Wonderful World of Disney, and the live-action movies of the 1960s and 1970s. When a local television channel syndicated The Mouseketeers in the late 1960s, I watched that too.
Some (indeed, a lot) of the Disney product was banal, but it never deviated from a certain purity: Be good, be kind, be patriotic (if that was relevant), work hard . . . that kind of stuff. The next generation of Disney movies also promoted that message, whether with classic princess movies (Beauty and the Beast) or a non-romantic “adventure with a friend” film such as Moana.
Moana’s earth goddess ending, though, hinted at what was to come with Frozen II, which was a visually beautiful, but tedious effort to introduce kids to anti-colonialism, man-deriding feminism, and Gaia worship. Watching that and thinking of the classic Disney movies, one has to wonder "Where on earth does this stuff come from?"
The answer is surprisingly easy: It comes from the current crop of Disney writers and producers, all of whom were marinated in hard-left college liberal arts programs.
This post offers two exhibits to prop up this assertion. The first is a cri de cœur from Itxu Díaz about the horrible changes wrought on Disney’s DuckTales. Díaz is Spanish, so the syntax is a little scrambled, but you’ll quickly get the gist about the push to take an entertaining character who always has an eye for the girls and turn him into a vehicle for pushing homosexuality on small children:
Donald, that charming children’s character, has been kidnapped by a company following a rigorous ideological program of liberal indoctrination, whose latest conquest has been to introduce in the new episodes of DuckTales two gay ducks who have adopted a little duck, whose sexual habits have not been revealed thus far.
Replies