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Hijacking Disney characters for the LGBT cause is creepy and cringe

Disney finally has a hit with ‘Inside Out 2,’ and the left is moaning about it.

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Phyllis Smith, Amy Poehler, Liza Lapira, Tony Hale and Lewis Black star in 'Inside Out 2.' // PIXAR

Last week, secret footage showed a Disney executive, Michael Giordano, confessing that the company would never hire another white man, especially in a senior role.

Covertly obtained by journalist James O’Keefe, the shocking scenes went viral, illustrating just how much far-left ideology has captured Hollywood.

You might think such blatant discrimination would be enough to please today’s progressives, who loathe everything white and male, but alas not. They are already annoyed about another non-issue: this time, a fictional cartoon character designed for children. 

See, after a series of flops, Disney finally has a hit with Inside Out 2, and the liberal mob wants to queer the slightly tomboyish main character, Riley, into a full-on lesbian. 

According to Screenrant critic Kate Bove, who uses the pronouns ‘she/they’, the film is borderline homophobic because it won’t ascribe the adolescent (and presumably virginal) protagonist a sexual preference, even though the film is primarily about mental health.

“There’s no denying that Inside Out 2 deftly explores teenage friendships,” she writes. “But I’m still frustrated by the studio’s lack of openly LGBTQ+ protagonists — or even supporting characters. 

“Ultimately, LGBTQ+ are still waiting for Pixar’s representation to improve.”

Another writer, Pink News’s Marcus Wratten, also voiced his dismay. “Ever since a sequel to Disney Pixar’s animated smash Inside Out was announced in 2022, a small-but-vocal group of online queers have expressed their hope that lead character Riley would realize she is part of the LGBTQ+ community.

“Disney Pixar seems too scared to go that far,” he wrote

Meanwhile, The Guardian’s Peter Bradshaw added in his review: “We find that Riley’s inner imaginative landscape actually features a huge ‘Mount Crushmore’, but that’s as far as this goes. Could it be that the film is squeamish about the reality of teen experience – or it didn’t want to get involved in any identity debate?” 

LOL. Is he serious?

Given Disney’s track record, the latter is highly unlikely.

In Lightyear, Buzz’s best friend, Alisha Hawthorne, shares a quick kiss with her wife, Kiko. In last year’s Elemental, the character Lake Ripple is openly non-binary. 

Pixar also released a short film called Out as part of their SparkShorts series. It was the first animated movie to feature an openly gay main character and the first same-sex kiss. 

Hell, Disney even took a public position against Florida’s so-called ‘don’t say gay’ bill, risking a backlash from conservatives.

Yet activists are still not happy, which is a damned shame. After all, the original Inside Out was a great movie, garnering both critical and commercial success. It simultaneously defied feminine stereotypes, showcasing another strong female lead. 

Sadly, none of this seems to be enough for today’s hyper-entitled audiences, who seem almost Trotsky-esque in their demands for propaganda, not entertainment.

By this I’m referring to Leon Trotsky’s idea of ‘entryism’, in which he encouraged Soviet Union  revolutionaries to enter an existing group or political party, take it over, and then hijack its power. 

What other explanation could there possibly be for wanting to seize everything successful? It smacks of cultural marxism on steroids.

It also has weird parallels with the whole trans saga, in which minors are encouraged to declare their ‘gender identity’ before they’re old enough to graduate high school.  

Can’t we just let kids be kids, whether fictional or real? And can’t we give audiences a break from the endless onslaught of identity politics?

Given that the latest Star Wars series is a flop, Disney should already know the answer to that. Since paying $4 billion for Lucasfilm in 2012, they’ve allowed the franchise to become a conduit for hardline feminism. And, unsurprisingly, it has failed.

The newest release, The Acolyte — which has its lead characters spawned by ‘lesbian space witches’ — has spectacularly bombed on its streaming platform, Disney+.

In fact, it has performed so badly that Elon Musk recently slammed LucasFilm president Kathleen Kennedy as a franchise killer “more deadly than the Death Star”. 

Interestingly, this tells us again about what’s really going on: namely, that left-wing activists only ever want ownership (or ‘representation’) in the films and franchises that are already hugely-popular, powerful and well-established, as per the concept of ‘entryism’. 

Conversely, when ‘woke’ goes broke, and their political projects fail, they blame the audience for rejecting the message. In this instance, the culprits are straight, white men – the very demographic Disney refuses to hire.

Perhaps if they did, it wouldn’t be dying at the hands of DEI. 

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