The bedrock of Disney’s global standard and reputation is that of “wholesome family values”. This is something of a twisted irony when one considers the many tales of state sponsored mind control in relation to the ‘Disney’ empire. This standard is further questionable should there be any validity to the claims that their guiding light, Walt Disney, was alleged to have had an unhealthy interest in their child stars – most notably, the likes of Bobby Driscoll and Kurt Russell, whose name was allegedly the last words spoken by Walt on his death bed.
Such claims aside, a little scrutiny of Disney’s output alone tells us a story that contradicts the much vaunted values and beliefs of ‘The House of Mouse’. Since their first animated films, Disney has produced (or joint partnered with other studios) a huge number of animated and live actions films, shorts and television programmes. There are many common themes which have run through these productions since their origins in the early part of the twentieth century.
The protagonist of these pieces often finds themselves on a physical and psychology journey. Usually they are lost or separated from their loved ones, perhaps trying to find a way home again or attempting to create a new life for themselves. The journey always involves a transformative experience, a metamorphosis into a new being. The journey will involve hardship and danger, peril and heartbreak. The protagonist will usually befriend some form of non-human individual or individuals. These are often animals, but over the years they have included supernatural entities, aliens, robots, even figments of their own imagination. Most people would describe this as a perfectly normal narrative for a children’s story.
However, the specifics of the journey are quite interesting and decidedly dark. Even as early as Snow White and the Seven Dwarfs (1937), the story begins with Snow White’s jealous stepmother Queen ordering a reluctant huntsman to take her into the woods and kill her. Further on, after escaping and befriending various woodland creatures, as well as seven adult dwarfs, the Queen creates a poisoned apple that will put Snow White into a "Sleeping Death". The Queen even cackles at one point about taking Snow White and “burying her alive!”
It is worth pointing out that when the original “Snow White and the Seven Dwarfs” was released in England; picture houses forbad any child under the age of 16 from seeing the film due to the scary content. Speaks volumes really…
Most people will argue that children have always loved a little fear, peril and gruesomeness in their stories. This is true in most cases. A case could be made for the concept of overkill though – something which Disney excels in. Case in point: Pinocchio (1940) - Stromboli turns brutal and locks Pinocchio in a birdcage to prevent him from leaving, and warns him that if he grows too old, he will chop him into firewood, Bambi (1942) - his mother is shot and killed by a deer hunter while trying to help her son find food, Alice in Wonderland (1957) – the Queen of Hearts orders Alice executed by decapitation, these are just a few early examples of many such occurrences.
If we consider Disney’s wholesome family values (a family unit, a loving environment, etc.) there appears to be a slight discontinuity within the films. I don’t wish to get into a debate about what is considered to be a so-called “family unit”, yet Disney’s view of this is a somewhat fractured and disjointed one. If you are aware of the various Disney plots or take some time to do a little research, it is not hard to notice the sheer number of films involving a central character / characters who are orphaned, fostered, adopted, abandoned, have no family at all, suffered the loss of one or both parents, etc. There are also numerous examples where an adopted, foster or step parent has treated their charge to contemptible, if not homicidal, tendencies! Are these good, wholesome family values? The latter is almost certainly not!
During the early days of Disney, another wholesome concept would have been one’s devotion to religious beliefs. Right from the creation of Fantasia (1940), the finale of the film (Night on Bald Mountain) treats the viewer to a ritual wherein the devil Chernabog summons evil spirits and restless souls from their graves. The spirits dance and fly through the air until driven back by the sound of an Angelus bell as night fades into dawn. Such rituals would have been the antithesis of accepted mainstream beliefs. Disney has returned many times to the notion of ‘selling your soul’ (e.g.: “The Devil and Max Devlin”), magic and occult aspects (“Summer Magic”, “Mary Poppins”, “Bedknobs and Broomsticks”, “The Black Cauldron”, “Hocus Pocus”) and the beliefs and symbolism of masonic and secret societies (“Treasure Island”, “Alice in Wonderland”, “Candleshoe”, “Something Wicked This Way Comes”, “The Three Musketeers”, “National Treasure”, “The Prestige”)
Disney has also had a preoccupation with narrative devices such as mind experimentation (e.g.: “The Adventures of Merlin Jones”, “The Computer Wore Tennis Shoes”) advanced technology (“The Absent Minded Professor”, “Moon Pilot”, “Tron”, “Surrogates”) and the extra-terrestrial phenomenon (“Escape to Witch Mountain”, “Flight of the Navigator”, “Mission To Mars” and “Signs”.)
In all honesty, providing you have a little insight into the bigger picture, it is not hard to find such recurrent themes throughout these films. Is there anything a little more subtle though? If we return to the practice of psychological programming and conditioning, these notions are sometimes noticeable. The ideas of abuse, isolation and fractured psyches are used repeatedly in Disney’s output. The Bette Midler vehicle “Stella” immediately springs to mind as an example, as well as (one of my pet projects) “Lost” – made by Disney’s ABC television network.
It is conceivable that there is far more subtlety than perhaps initially realised. Aside from the far reaching mind control associations, a number of researchers have suggested a more generic and low level conditioning which may be more widespread amongst the general population – one such method is that of “Princess Programming”. The emotionally challenged “princess” motif is regularly at the heart of many a Disney film and serves as a mass consumerist tool of propagation. Researchers have pointed to this aspect as a tool to re-educate (largely female) mass perceptions.
The transformation (with monarch-style undercurrents) of the girl next door utilising her femininity to get all she wants is a very appealing psychological trigger in the female of the species. Disney’s consumerist machine has cornered the market in eye-catching, often plastered in pink, paraphernalia. Try going to any large store without noticing at least one row (if not many more!) draped floor to ceiling in this stuff. It is also worth checking out the theme of the product. Many of these items are a riff on princess/Disney themes, if not an actual Disney franchise.
The pink aspect is also worth addressing. In the book “Illuminati Formula”, Fritz Springmeier and Cisco Wheeler address the colour coded ‘Illuminati alter system’. This system assigns thirteen colours to a hierarchy of programming. Pink is the lowest. “These are core related alters. They maintain the true feelings of the true self apart from the cult programming and the cult family’s programming. These alters are viewed as weak because they are emotional and often break down and weep. They are fragile emotionally.” In 1997, Cooper Marketing Group made a survey of the usage and representations of colours in commercial marketing. Pink had a sizeable 27% share of usage, with the colour said to represent fragility. In certain Wiccan beliefs, pink represents beauty, friendship, acceptance and self-love.
Another programming component (which links to the ‘princess’ experience) is Disney’s reliance upon the over sexualisation of younger viewers. Serious researchers of Disney’s dark side have suggested that the empire has covered it all: from child porn to S&M, to lustful envy to virgin naivety, gay, strait, bi and try-a-sexuality. Hard porn, snuff films, white slavery, mind-control, and the seduction of several generations into occult practices… you name it. I would suggest that nobody in the modern entertainment world has done more to sell the latter concept than Disney (did you know that nearly all of Disney’s 1920 movies had a black cat in them?!) and there is a wealth of anecdotal evidence to suggest the mind control association, but what about the sexual angle?
It would be hard to fathom that a film like “Consenting Adults” could be made by the wholesome “House of Mouse”, but it was – via Touchstone films. Touchstone was created so that Disney could specifically put out films with a more “adult” tone. Disney has actually ventured into soft porn content via cable access in the past.
But are there any adult undercurrents to the more (so called) “innocent” output? It is known that one of Disney’s earlier success stories was the animated feature “Bambi”. Perhaps less known is that Bambi was based upon a book written by a porn photographer named Felix Salten. Salten worked in a Viennese sex salon owned by the elite Hapsburg bloodline.
There are a number of claims made about subtle, almost subliminal inserts into various Disney features. It is claimed that there are castles made of male sexual organs in some of the promotional material for “The Little Mermaid”, as well as a minister conducting the wedding who (perhaps!) appears to have an erection.
In “Who Framed Roger Rabbit?”, Jessica Rabbit is thrown from an animated taxi which results in her flying through the air with her legs akimbo and revealing (for four frames of film anyway!) that she is indeed a member of the infamous ‘anti-panty’ brigade! The film also appears to show Daffy Duck sprout an erection during the ‘piano duelling’ scene. In "Aladdin", there is a scene where he flies up to Jasmine's balcony and is heard to whisper "Take off your clothes". Disney insists it's really "Take off and go", spoken to Jasmine's tiger. I’ll leave it for you decide. During airing of “The Clock Cleaner” animated short, WDIV -TV discovered that Daffy Duck was clearly heard to say "f*** you". When this was discovered, Wal-Mart pulled the video from the shelves. Disney edited it and re-released it for sale, despite insisting that it really wasn't there.
A bare breasted woman can be clearly seen in the background of a scene from the animated film “The Rescuers” and the word SEX is clearly visible after a cloud of dust is kicked into the air during a scene from “The Lion King”. Time magazine once described “The Lion King” as “the dirtiest, most perverse” and “more charged with violence than any other Disney film.”
There have even been claims from animators who tell stories of sexual imagery being subliminally incorporated into the actual animated characters and scenes of Disney output. These claims have been dismissed as the rants of disgruntled employees, yet there are several examples (by quite talented artists) of how this can be done. http://www.youtube.com/watch?v=j19Aoe9EUVY
I genuinely believe that there is much more to Disney than meets the eye, even on a simply instinctual level. If Disney was able to convince large numbers of the populace that Lemmings like to jump off cliffs (which is actually untrue), then what else are they capable of conveying?
In alternative research, there are far more disturbing concerns. When a Tom and Jerry cartoon contains apparent examples of occult symbolism and blatant worship ( http://www.youtube.com/watch?v=1V-N92EBy9A&feature=player_embedded ) or a Duck Tales episode continues to flash variations of the word ‘Illuminati’ on a background eye chart ( http://www.youtube.com/watch?v=E0NAheMXhAk&feature=player_embedded ) perhaps there is some real cause for concern.
The masonic sci-fi writer H. G. Wells wrote (in his “prophetic” tome – “A Modern Utopia”) that there would be lots of “shows in the New World Order.” Disney is making these shows now.
The World Future Society in a book review in their publication Future Survey Annual, 1993, (ed. Michael Marien, Bethesda, MD: World Future Soc., p. 91) describes Disney: “Control of commodities [such as entertainment] and access to commodities translates into control over people. The postmodern US is a massive rush of disconnected commodities, each seeking a moment of our attention… The world of commodities is our ‘soma’ and entertainment is the current form of public discourse.”
It has been speculated that part of the elite global agenda is the determination to fracture families and communities, whilst simultaneously distracting us with misdirection and triviality. It is possible that a fractured and disjointed view of the world and our existence, via the medium of the likes of Disney, is made manifest by our own hand… something we don’t even fully realise or comprehend. This is the potential danger from entities like Disney. My advice would be to just turn the damn thing off! I suspect far less harm comes from at least doing that much!
Until the next time,
The Truth Seeker’s Guide.
Part 1: http://thetruthseekersguide.blogspot.co.uk/2012/11/disney-darkside-part-one.html
Part 2: http://thetruthseekersguide.blogspot.co.uk/2012/11/disney-darkside-part-two.html
Part 3: http://thetruthseekersguide.blogspot.co.uk/2013/01/disney-darkside-part-three.html
Science Fiction and the Hidden Global Agenda: