Disneyfying Bigotry & Bias
Disney’s cancelling of Roseanne Barr’s wildly popular second iteration of Roseanne is a perfect example of the “Disneyfication” of the rampant anti-Conservative, anti-White bigotry and bias in the media and among Liberals and Progressives.
That does not mean that Ms. Barrs tweet wasn’t what would generally be considered in very poor taste. True, Valerie Jarrett does rather look like the Muslim Brotherhood and The Planet Of The Apes had a child, but it’s thought of as exceedingly rude to say so. Disney’s anti-Conservative, anti-White bigotry and bias is not shown by their cancelling Roseanne over her tweet; it is shown by their blithely ignoring equally or more egregiously vile or improper comments about Conservatives and Whites by other ABC personalities as part of their shows.
This is just Disney mainstreaming, Disneyfying if you will, the Left-Wing dogma that any of those bearing “protected traits” – for whatever “inclusive” list of those traits they’re using at this day, date, and time – are deserving of every protection while the short list of those without such traits are not only deserving of no protections but deserving of any attack that can be launched against them due to their “privilege” of not being a protected class.
NOTE: To me, Valerie Jarret does look like the Muslim Brotherhood and the Planet of the Apes had a child. But, as much as I find Jarret to be vile, I find the comment to be ignorant and lazy. While Jarret was born in Shiraz, Iran, it was to a White American woman and a very light-skinned American Black man, neither of which were Muslim. Nor is there any credible evidence that Jarret herself ever adopted Islam.
Certainly, you don’t have to enjoy Disney’s Frozen. You do, however, have to face the fact that Elsa is Disney’s rebel princess…and in more ways than just her sexuality.
[youtubegallery cols=2 thumbwidth=220]
Whether is saying, “Fuck It All” to her final exams or “Let ‘Em Burn” about people who’ve hurt her or held her down, Elsa is most definitely a rebel through and through.
Western fairy tales traditionally end with some variation of, “…and they lived happily ever after.” Eastern fairy tales, those filtered through Arab and Persian cultures, tended towards the slightly less upbeat ending of, “…they lived happily until there came to them the One who Destroys all Happiness.”
As these stories are meant for enjoyment of children, these endings are necessary fiction.
Let’s face it, if you want the kiddies to sleep well and quietly through the night, you can’t tell them a story with an “ending” that includes the aftermath and later existence of the heroes and heroines. That sort of reboot of these fairy tales is just to close to reality.
Anything and everything involving Hollywood “needs” a reboot. Without rebooting existing franchises there’d be few new movies because there’s apparently a dearth of creativity and/or cognitive ability on the Left Coast. The one quasi-exception to this is Disney’s animated movies. Since most are based on folk tales and fairy tales they have a more legitimate reason for relying upon rebooting existing properties.
Fortunately for Disney, Eric Proctor has provided the perfect inspiration for rebooting some of the Disney Princesses.