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Disney: I notice that people complain about Disney a lot—they like to say it has become “political”. That’s probably true, but I don’t think Disney has ever been any good. I never liked Disney when I was a child, the only Disney film I liked was Bedknobs and Broomsticks (and I hated the only animated section in that). I don’t think anyone has ever really liked Disney—it has always been something you’re “meant to” like but actually don’t. Somehow, it only seems to have been for girls and always seems to have been that way.


The criticism of Disney, right from the beginning, was not that it was “political” but that it was sentimental—the two segue into each other because leftist politics, particularly liberal leftist politics, is sentimental. It’s the sort of “weepy vicar’s daughter” or “champagne socialist” kind of politics—the archetypal “bleeding heart”. Disney makes extensive use of European folk tales (or used to, anyway) but it has always made them sentimental—a typical Brothers Grimm story, where an old witch is put in a barrel studded with nails and rolled down a hill, just doesn’t feature in Disney.


It’s not that I want Disney to be brutal and tough—rather just not sentimental (as it happens sentimentality and cruelty go along with each other). Although overt politics has probably been injected into Disney storylines by now, it’s really the sentimentalism that is the core problem—and always has been, even when the European Walt was in charge. In part, it’s because in America “nothing bad ever happens”—America is meant to leave all Old World problems behind, so that even the fairy tales are sanitised so as not to be “too distressing”; just as Starbucks coffee is sanitised so as to be “hygienic”, “convenient”, and, in the end, very plain.


Reality is banned in Disney—in “the magic kingdom”, which, though I haven’t been, doesn’t look magical to me (all Americans seem to talk about is how expensive it is to go to the “magic kingdom”—though you can go right away if you have a lighted fire…). It must relate to the way America has no culture, really—it has an Anglo culture it denies, Shakespeare and so on, due to the revolution and it has Jewish Hollywood culture layered on top of that.


Ideas like “the Great Books” and “the Western Canon” were invented by American Jews in the 20th century—the former explicitly to sell books; and these ideas are retailed to right-wing Americans as somehow being “the books that will save the West” (the idea that a book, a law, can save a people and not their blood-bound culture is itself Jewish; it’s why the Jews are a kind of an anti-race, so that you have black African Israelis and Ashkenazi Israelis both counted as Jews—which is their ideal for the world, interracial hybrids in accord with the law; except the law denies the heart).


Anyway, just to read Dante, Goethe, and Shakespeare does not make you “of the West”—I mean, I’ve read these, in translation, but it doesn’t make me “Western”; it’s only Shakespeare I really identify with, and I prefer Yeats to Dante because he writes in English—it’s symmetric with my blood and language. In America, however, you have this idea you can patch together a culture from a melange—and the result is this bland mess (designed to sell books, or films—if Disney).


A bit like Coke, Disney is an anti-product that is sweet but superficial—there’s little depth to it. So the idea it was somehow “ruined” is a misconception—it might have plumbed new depths, but it was always superficial.


Sweetness is always insincere, and I become increasingly annoyed by the lack of sincerity in our societies. I don’t want people to be mean, but to be sincere doesn’t mean that you have to be mean—and you can insincerely put on a serious face, too. What I want is just some sincerity—and, of course, to play at being nice is a common form of insincerity. To be funny and cute all the time is insincere—and Disney tries to be funny and cute all the time.


The other day, Elon Musk posted a Mexican (perhaps Spanish) comedian telling a joke to a TV presenter in the 1980s or 1990s—he started to bray like a donkey when he had told it. I just thought, “It’s like the Devil, the Devil is a braying ass.” It’s asinine, literally.


As I say, just to be “tough and serious” is no more sincere—and there are more than enough public personas, like Andrew Tate and Jack Donovan, who are completely po-faced and serious (“tell your son this”) and yet are also totally insincere. There are many ways to be pretentious, and you can even be pretentious as you pose as a “down-to-earth no-nonsense real-G” (I laughed as I read this back to myself, so it must be true).


As is often the case, you need to short-circuit the whole thing—forget the idea that Disney “went down hill” or was “politically corrupted” and accept the fact that it was rubbish from the start. It was always artificially sweetened milk, it was always Coca-Cola. There are so many things in life like that—as someone highlighted today, as I highlighted a while ago, Doctor Who was always political propaganda for the left (it is from the BBC).


It’s like when Tom Baker, a Jewish actor, confronts the inventor of the Daleks, Davros, who has an electronic eye to see with in his forehead—which is obviously, with its purple colour, the opened third eye of spiritual insight. I’ve already written about this at length, but I didn’t realise Tom Baker was Jewish until recently—it makes sense. It’s about the demonisation of spiritual insight, which takes ascetic discipline to achieve, under the guise of “being kindly and moral” (and “funny”, of course).

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