Yes, those are “the Seven Dwarfs” of “Snow White and” fame, according to our national steward of childhood fantasy and iconic fables, the Disney Corporation. That photo is smoking gun evidence of insanity, a production shot from the upcoming live action version of the 1937 movie that made Walt Disney’s artistic vision a cultural force, now retitled “Snow White.” Of course Snow White is going to be Snow Of Color, as the actress playing the German fairy tale princess is Latina Rachel Zegler, who has already embraced the company’s current “screw tradition, common sense and legacy” attitude by tweeting, “Yes I am Snow White; no, I am not bleaching my skin for the role.”
You do recall why Snow White was called Snow White, right?
Doyle: You dumb guinea. Cloudy: How the hell did I know he had a knife? Doyle: Never trust a nigger. Cloudy: He coulda been white! Doyle: Never trust anyone.
That exchange has been excised from the versions of the film used on Turner Classic Movies, iTunes and Criterion. The film’s distributor, 20th Century Fox, was acquired by Disney before the scene disappeared. It is artistic censorship, straight up; no more acceptable than painting over the breasts Reubens paintings, or bleeping out “damn” is Rhett Butler’s famous kiss-off to Scarlet (as was done regularly when the movie began being shown on network television.)
Again, we are faced with deciding whether the motives here were stupid or sinister. I probably vote for both. The accelerating effort to declare the word “nigger” as taboo regardless of intent, use or context is pure attempted mind-control and Orwellian WrongThink totalitarianism—now embraced, as in other totalitarian tactics, by most of the Left and the Democratic Party. It is also unprincipled pandering to Critical Race Theory extremism. The rational mind boggles at what canonical works of art and literature face permanent scarring if the practice is allowed to take hold. Just off the top of my recently repaired head, I can think of several superb films that include “nigger” in the dialogue, like “The Shining,” “In the Heat of the Night,” “To Kill a Mockingbird,” “Mississippi Burning,” “Pulp Fiction,” and of course, “Blazing Saddles.”
Early in William Friedkin’s classic film “The French Connection,” Jimmy “Popeye” Doyle (Gene Hackman) argues with his partner, Buddy “Cloudy” Russo (Roy Scheider) regarding Russo recently sustaining a knife wound in a confrontation with a black drug-dealer:
Doyle: You dumb guinea. Cloudy: How the hell did I know he had a knife? Doyle: Never trust a nigger. Cloudy: He coulda been white! Doyle: Never trust anyone.
That exchange has been excised from the versions of the film used on Turner Classic Movies, iTunes and Criterion. The film’s distributor, 20th Century Fox, was acquired by Disney before the scene disappeared. It is artistic censorship, straight up; no more acceptable than painting over the breasts Reubens paintings, or bleeping out “damn” is Rhett Butler’s famous kiss-off to Scarlet (as was done regularly when the movie began being shown on network television.)
Again, we are faced with deciding whether the motives here were stupid or sinister. I probably vote for both. The accelerating effort to declare the word “nigger” as taboo regardless of intent, use or context is pure attempted mind-control and Orwellian WrongThink totalitarianism—now embraced, as in other totalitarian tactics, by most of the Left and the Democratic Party. It is also unprincipled pandering to Critical Race Theory extremism. The rational mind boggles at what canonical works of art and literature face permanent scarring if the practice is allowed to take hold. Just off the top of my recently repaired head, I can think of several superb films that include “nigger” in the dialogue, like “The Shining,” “In the Heat of the Night,” “To Kill a Mockingbird,” “Mississippi Burning,” “Pulp Fiction,” and of course, “Blazing Saddles.”
Ah, the curse of confirmation bias! So determined are conservative pundits and bloggers to condemn the New York Times as being a full conspirator in the effort to wokify U.S. society and culture that it missed the paper’s movie critic admitting that the movement wasn’t working. Wesley Morris, who is clearly Democrat, progressive, and an African American, began his review of the already controversial live action version of “The Little Mermaid” thusly:
The new, live-action “The Little Mermaid” is everything nobody should want in a movie: dutiful and defensive, yet desperate for approval. It reeks of obligation and noble intentions. Joy, fun, mystery, risk, flavor, kink — they’re missing. The movie is saying, “We tried!” Tried not to offend, appall, challenge, imagine.
“Dutiful and defensive, yet desperate for approval. It reeks of obligation and noble intentions.” That’s a perfect, if incomplete, description of what political correctness and the cultural fascists of the Left have wrought. But because the critic appended “kink” at the end of “joy, fun, mystery, risk, flavor,” the qualities he felt the movie was missing, that word was all the critics of the critic could see. “NY Times ripped for piece lamenting lack of ‘kink’ in new ‘Little Mermaid’: ‘The left sexualizes kids'” Fox News announced, and it was typical.
Disney has a man in a dress working in the dress store for little girls at Disneyland. This is who Disney wants girls to see when they first walk in to pick out a dress. pic.twitter.com/Ta2dwyAaSa
For a couple of weeks now, I’ve been planning a long post examining what Disney’s mission and methodology need to be in 21st Century America. Walt’s creation faces an important challenge and a difficult one, and I would hope that the people responsible for guiding a company whose role in shaping U.S. culture has been both successful and beneficent as well as profitable are up to the task. They had better be, for the sake of the culture, not merely stockholders.
I was well on the way to devising a post I felt would be perceptive and provocative when I saw the video above. That stopped me cold. I wasn’t exactly optimistic about Disney, which has been a major positive influence in my own life, being able to safely navigate around the cultural icebergs in the roiling societal seas ahead before I watched the thing, but now I am as confused as I am depressed.
The classic starting point for ethical analysis is “What’s going on here?” In this case, it is more appropriate to ask, “What THE HELL is going on here?”
From the Ethics Alarms mailbag came an inquiry about the latest kerfuffle over the upcoming live action version of “The Little Mermaid.” There are two great production numbers in the original, both sung by a crab: the Academy Award-winning “Under the Sea” and the more sedate “Kiss the Girl,” in which Ariel’s devoted crustacean friend urges Prince Eric, Ariel’s secret love, to take the plunge and kiss the magically land-bound fish-woman.
Here are the original lyrics:
There you see her Sitting there across the way She don’t got a lot to say But there’s something about her And you don’t know why But you’re dying to try You wanna kiss the girl
Yes, you want her Look at her, you know you do Possible she wants you too There is one way to ask her It don’t take a word Not a single word Go on and kiss the girl
Sing with me now Sha-la-la-la-la-la My oh my Look like the boy too shy Ain’t gonna kiss the girl Sha-la-la-la-la-la Ain’t that sad? Ain’t it a shame? Too bad, he gonna miss the girl
Now’s your moment (ya, ya, ya) Floating in a blue lagoon (ya, ya, ya) Boy, you better do it soon No time will be better (ya, ya, ya, ya, ya, ya) She don’t say a word And she won’t say a word Until you kiss the girl
Sha-la-la-la-la-la Don’t be scared (sha-la, sha-la-la ya, ya, ya) You got the mood prepared (woah, woah) Go on and kiss the girl Sha-la-la-la-la-la Don’t stop now (sha-la, sha-la-la ya, ya, ya) Don’t try to hide it how You want to kiss the girl (woah, woah) Sha-la-la-la-la-la Float along (sha-la, sha-la-la) And listen to the song The song say kiss the girl (woah, woah) Sha-la-la-la-la-la The music play (ya, ya, ya, ya, ya, ya) Do what the music say You got to kiss the girl You’ve got to kiss the girl Oh, don’t you wanna kiss the girl You’ve gotta kiss the girl Go on and kiss the girl
Via the surviving member of the team that wrote the songs in “Mermaid” (and better yet, “Little Shop of Horrors”), Alan Menken, we learned this week that Disney, which is too woke for its own good these days (and ours), ordered up some lyric changes in the song because “people have gotten very sensitive about the idea that [Prince Eric] would, in any way, force himself on [Ariel].”
Disney’s animated/live action feature “Song of the South” (1946) is, to say the least, not a metaphorical hill worth dying on. The animated sections are excellent, but Walt, for reasons known best to him, decided to ignore good advice from various members of the black community who advised him not to use the movie to romanticize plantation life, with happy slaves singing away in the Land of Cotton where old times are not forgotten. “Song of the South’s” version of the Old South makes “Gone With The Wind” seem like the “1619 Project” by comparison; shame on Walt, who spoiled any chance of Joel Chandler Harris’s American folk tales being preserved in our culture.
Of course, Walt’s lapse of judgment doesn’t mean, or shouldn’t mean, that people who want to see the movie (and the screen legacy of African-American actor James Baskett, who deserves to be remembered) ought to be prevented from doing so. 21st Century Corporate Disney, however, has fully embraced the paternalistic view that big media companies and the government know best, so “Song of the South” has been treated like those photos of old Soviet leaders who fell out of favor: erased, banished. Nope, sorry, can’t see it, folks: it will make you racist, or if you are properly woke, cause an aneurysm, or something.
Yes, that was fake Republican Ana Navarro spreading the word that blacks and Hispanics get sent to jail for years for stealing a pack of cigarettes. “The View” is the most-viewed news and talk program in daytime television, and is run by the ABC News division. The ABC News division is permitting outright, flagrant false information to be communicated to its dim and ignorant audience by this coven of fools. They make Don Lemon look like Edward R. Murrow.
I don’t like being shouted at by cartoon characters. Even if they had a valid point, my response to this kind of assaultive advocacy is, has ever been, and always will be…
One upon a time, Hollywood showed respect to its greatest movie heroes. They deserved it, after all. We never had to see what became of Rick Blaine as he battled the Nazis. We never had to watch Scarlet chase Rhett. Nobody made as watch the plucky Hickory High School basketball team try to hold on to its title the next year after its miracle triumph. Hollywood got greedy (greedier), though, as imaginations ran out and audiences looked elsewhere for their entertainment. And thus the sublime ending of “Rocky” (“There ain’t gonna be no rematch!” “Don’t want one!”) was eroded and superseded by endless inferior sequels. “Star Wars” ended with a jubilant celebration of victory over the Empire and the characters happy, safe, and young, but studio finances dictated that it all had to be diluted with inferior and derivative prequels and sequels, with audiences being tortured by aging husks of Leia, Luke and Han Solo, instead of allowing them to be preserved in our memories as immortal, like legends should.
Now it’s Indiana Jones’ turn. Spielberg and Lucas already set up the perfect farewell for Indy in the third of the original trilogy, flawed as it was. We saw him ride off with his father and Marcus Brody into the sunset after drinking from the Holy Grail, which should have conferred eternal youth. Perfect!
They couldn’t let it go, though, or the studio couldn’t, or Spielberg’s alimony, or something. So we had to watch, many years later, an over-the-hill Indy in a jumping-the-shark fourth film that George Lucas signaled would stretch out the franchise ad infinitum by symbolically passing The Hat on to Indiana’s newly discovered son, the then young and promising Shia LaBeouf.
Disney has a tough job, trying to maintain its roles as a great middle class cultural icon and celebrator of Americana in the midst of social upheaval and culture wars. It couldn’t be doing a lousier, lazier, more destructive job of it, either, but that is, as they say, neither here nor there. The issue of the day is whether Disney deserves to be pilloried for its new teaser trailer for the live-action version of its animated classic “The Little Mermaid.”
It does not.
Conservative media is now resolutely anti-House of Mouse, so it is actively gloating over the detected (but inconclusive) negative reaction to the first look at the film scheduled to hit theaters in May of 2003. Ed Driscoll at Instapundit writes, “Disney in particular absolutely loves …to both gin-up hype, and wave away large scale fan hatred of their latest reboot.” But since fans haven’t seen the film yet, since it hasn’t been finished, “large scale hatred’ is an unwarranted assumption. At The Daily Wire, it is implied that there are widespread objections to the red-headed Ariel of the 1989 animated film being played by Halle Bailey, an African-American, and that fans of the original film who don’t like the color change are being called “racists” by the Woke and wonderful.
Ethics Alarms 