T he people running Disney appear crazier than that guy who stripped naked on “It’s a Small World” Sunday and started dancing with the animatronics and climbing on the iconic ride’s structure.
“Generally, our revenues and profitability are adversely impacted when our entertainment offerings and products, as well as our methods to make our offerings and products available to consumers, do not achieve sufficient consumer acceptance,” the company’s stock report explains with regard to recent bombs. “Further, consumers’ perceptions of our position on matters of public interest, including our efforts to achieve certain of our environmental and social goals, often differ widely and present risks to our reputation and brands.”
This consumer perception finds reinforcement in Elemental featuring a nonbinary cartoon character and the combination of environmental propaganda and teenage homosexuality in the adolescent-aimed Strange World. Even its trailers cannot hide the wokeness. In a promo of Indiana Jones and the Dial of Destiny, the characters accuse each other of stealing the titular object. “Then I stole it,” one of the characters interrupts. “It’s called capitalism.”
The political crusading permeates all aspects of the corporation.
In 2021, Disney eliminated “gendered greetings” at its theme parks. “We no longer say ladies and gentlemen, boys and girls,” Vivian Ware, Disney Parks diversity and inclusion manager, explained. “We say dreamers of all ages.”
Disney+ removed symbols from Grunkle Stan’s fez in Gravity Falls; placed content restrictions on such classics as Dumbo, Peter Pan, and Swiss Family Robinson; and deleted a line from Who Framed Roger Rabbit because Donald Duck says a word that sounds like a racial slur but isn’t.
Disney infamously picked an unnecessary fight with Florida Gov. Ron DeSantis after he signed an anti-groomer bill prohibiting discussions of sexuality between teachers and students in kindergarten through grade three. The legislation never mentions gay, but the Giant Mouse and other left-wing organs demagogued the debate by dubbing it the “Don’t Say Gay” bill.
The little people noticed first by cancelling subscriptions, bypassing Pixar cinema groomité, and skipping the Disney lines for Six Flags. Many bigshots now notice, too.
Elon Musk appeared to direct his venom at Bob Iger over an advertising boycott of Twitter over ginned-up claims of anti-Semitism: “If somebody’s gonna try to blackmail me with advertising, blackmail me with money? Go f*** yourself. Go … f*** … yourself. Is that clear? I hope it is. Hey, Bob, if you’re in the audience. That’s how I feel—don’t advertise.”
A less visceral and more clever response that sorts out symptoms from disease comes from South Park’s spoof of the president of Lucasfilm. Cartman’s Kathleen Kennedy’s response to everything, whether reboots or restaurants, is: “Put a chick in it and make her gay.”
Wokeness is a symptom of Disney’s disease: trendiness. That’s shorthand for a dearth of creativity. The company leans on reboots, sequels, and worn comic-book characters as crutches for the same reason it salaams any and all progressive ideas. It follows the crowd. This impulse may work for many entrepreneurial endeavors. In creative fields, the greatest rewards come to those who lead rather than follow. This creative cowardice bores audiences.
Disney keeps peddling what few buy. A glaring example of the toxic combination of retromania and preachiness destroying Disney arrives in 2025 in the form of Snow White (notice what’s missing from the title?). “People are making these jokes about ours being the PC Snow White,” star Rachel Zegler says about the reboot. “Where it’s like, yeah, it is, because it needed that.”
Says not the audience but people occupying a very narrow silver on the far edge of the cultural terrain who continue to make the movies they want to see rather than the ones the public wants to see.
Grossing out the customers is never a good marketing plan. But by all means, keep jumping out of that flume, stripping buck-naked, sitting Indian-style in the water, and climbing on the façade minarets. The guy freaking out on “It’s a Small World” was on drugs. What’s Bob Iger’s excuse?
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