In the past few days, liberal extremists have launched a full-scale attack on the Duggars, demanding that The Learning Channel cancel the Duggars’ popular reality TV show.
Their reason? Michelle Duggar openly opposed an extreme ‘transgender’ bill in Fayetteville. The bill would have given biological males who say they are women the right to use women’s bathrooms, locker rooms, showers, and other female-only facilities!
As of this writing, that petition has over 80,000 signatures, and is growing fast, with media like the Huffington Post leading the charge! We need to launch a counter-attack, letting TLC know that the American people stand by the Duggars and their defense of traditional family values.
Rather than being extreme, the Duggars represent the majority of people in state after state who have stood up for the traditional family.
The real extremists are those who are demanding that a TV network penalize America’s beloved family because they support the truth about family, which they have always expressed in a loving, compassionate fashion.
I haven’t watched 19 Kids and Counting in years. It just fell out of my usual television viewing rotation. That doesn’t mean I want to see it become the next victim of toxic progressive pitchforking.
The next target may be your favorite show.
LifeSiteNews’ counter-petition has just under 20,000 signatures as I write this.
You can read it here and sign it if you agree.
If you’re still operating under the false notion that pop culture doesn’t have a real impact on everyday life, take a look at America’s oldest example, Sleepy Hollow, New York.
When Washington Irving penned The Legend of Sleepy Hollow in 1820 under the pseudonym Geoffrey Crayon, he probably had no idea that his short story would inspire the beloved town of his youth to turn itself into a living homage to his tale. Settled in the late 1600s, the village was originally an agricultural and manufacturing zone of Tarrytown, New York. Nicknamed “Sleeper’s Haven” by early Dutch settlers, Washington Irving picked up on the Anglicized version of the name, “Sleepy Hollow” when staying with family in the area as a boy. Eventually millionaires like John D. Rockefeller would build mansions around the industrial zone that would become known as North Tarrytown at the turn of the 20th century. But it was Irving’s story that proved eternal when, in 1996, the village voted to rename itself Sleepy Hollow.
Street signs are orange and black, as is one of the village’s fire trucks. The Headless Horseman is the school mascot who, dubbed the nation’s “scariest high school mascot”, runs through every football game at half-time. Police cars and fire trucks also bear the Headless Horseman logo with pride. Halloween is celebrated throughout October with haunted hayrides, street festivals, a parade encompassing both Sleepy Hollow and Tarrytown’s main streets, several ghost tours and performances of the Washington Irving legend. The Great Jack O’Lantern blaze puts Christmas light spectaculars to shame and Horseman’s Hollow turns a 17th century Dutch mill into a gory homage to the headless Hessian.
The Old Dutch Church, Ichabod Crane’s presumed safe haven, stands guard over a vast “garden cemetery” designed to allow Victorian families to picnic with their dearly departed. Tours of the cemetery can be taken both day and night and feature stops at the graves of Washington Irving and those who inspired characters in his tale. A fair runs every weekend alongside the cemetery, providing tour groups with the opportunity to walk the grounds with alcohol in hand. The gas station on the other side of the infamous bridge hawks t-shirts and other assorted Headless Horseman souvenirs. And if you’re hungry, there’s always The Horseman Restaurant, a hole in the wall diner that promises you’ll “lose your head” over their milkshakes.
Conservative columnist Ross Douthat has declared his love for Lena Dunham. It hardly comes as a surprise that a New York Times writer, even one who dwells to the right of the aisle, would find the Girls prodigy appealing. What makes Douthat’s devotion disturbing is that he has managed to transform a goddess chained to a slew of liberal causes into a sacrificial lamb for conservative culture. In his struggle to do so, his misses the mark in what could have been one of the most culturally relevant critiques of Girls to date.
The critic defends Dunham’s showpiece Girls, writing,
She’s making a show for liberals that, merely by being realistic, sharp-edge, complicated, almost gives cultural conservatism its due.
It’s a seemingly ironic observation, based in the idea that Girls “often portrays young-liberal-urbanite life the way, well, many reactionaries see it…” That is, a subculture on the verge of self-destruction due to excessive amounts of what sociologist Robert Bellah dubbed, “the view that the key to the good life lies almost exclusively in self-discovery, self-actualization, the cultivation of the unique and holy You.”
In other words, as Gawker so simply put it:
He likes watching the show because it allows him to feel superior to Dunham and her fellow sluts.
By employing a rote, traditionalist perspective, Douthat argued himself into a hole, turning his love into judgement and burying his point in poorly-worded theory and equally bad theology.
Over the last few weeks we’ve looked at how Disney and its productions reflected, and sometimes influenced, the times. We’ve seen how Disney mirrored the can-do spirit of the ’30s, how the studio overcame the challenges of World War II in the ’40s, and how Disney changed with the times in the ’50s.
By the time the 1960s rolled around, Walt Disney appeared to have done it all. He had elevated the cartoon from an opening-act short to a feature-film art form. He had conquered live-action movies and embraced television, and he even revolutionized the theme-park experience. But Walt wasn’t done — in fact, it looks like he saved his most radical and powerful ideas for the last years of his life. And here are seven examples to prove it.
7. Walt Disney’s Wonderful World of Color (1961-1969)
After a seven season run for Disneyland on ABC, Walt wanted to explore different options. His greatest desire was to broadcast a show in color. Even though ABC had broadcast the show in black and white, Walt insisted on filming most of the segments in full color because he believed color would add long-term value to his productions. Rival network NBC had begun to promote color series heavily since parent company RCA made color television sets, and, after a brilliant sales pitch from Walt, the network bit.
Walt Disney’s Wonderful World of Color ran for eight seasons before undergoing a retooling and title change. During those seasons, Walt took advantage of the new and exciting world of color programming when few producers were willing to branch out, especially in the earlier years. Once again, Walt willingly blazed a trail, and once again his pioneering spirit paid off.
In my last two posts, we’ve looked at how Disney reflected the 1930s and the 1940s. As the studio emerged from World War II and into a new decade, it faced a changing nation. In their insightful book A Patriot’s History Of The Modern World, Volume II, Larry Schweikart and Dave Dougherty write:
Long-held and oft-repeated notions that the 1950s were a decade of sameness and conformity in the United States miss the revolutionary changes occurring in the decade – radical shifts that, fundamentally, may have altered America and the world far more than the superficial changes of the 1960s.
Far from reflecting a widespread sameness among Americans, life in the 1950s witnessed a burst of new businesses, consumer products, artistic expression, and social cross-pollination.
Disney ‘s productions from the 1950s reflect this rapidly changing America, and here are ten examples.
10. Matterhorn Bobsleds (1959)
Walt had two needs to fill: one was a way to promote the upcoming film Third Man On The Mountain, while the other was an attraction to fill space on a hill between Tomorrowland and Fantasyland. He remembered the majesty of the Matterhorn when he visited the set of Third Man On The Mountain, and the Imagineers designed a roller coaster based on the mountain.
The resulting attraction became the first steel-tube roller coaster, providing a smoother – yet still thrilling – ride than the traditional wooden coaster. Disney changed the way we think of thrill rides and opened the door for endless possibilities. The Matterhorn Bobsleds still bring excitement to this day. Check it out:
This is Part II in an ongoing series exploring cultural changes by decade. See last week’s first installment here: 10 Disney Cartoons From the 1930s that Reflect the Can-Do Spirit that Survived the Great Depression.
Walt Disney’s phone rang on the afternoon of December 7, 1941. His studio manager was on the other end to let him know that the Army was taking over the sprawling campus of the studio. The nation was already in shock at the bombing of Pearl Harbor just hours earlier, and Disney would cohabit with the United States military for the duration of the war.
The federal government commissioned hundreds of projects big and small for Disney, ranging from insignia design to training films to propaganda pieces. World War II changed the way the Disney Studios made films — from their efforts to support the Allies to anthology cartoons made for quick turnaround to new techniques to get their own products into the market, Disney emerged from the war a different studio than when the Army marched in on December 7, 1941. Here are ten examples.
10. “The Thrifty Pig” (1941)
Even before the United States became involved in World War II in the aftermath of Pearl Harbor, Hollywood was willing to engage in helping “the war effort.” Our northern cousins in Canada commissioned a propaganda piece from Disney to sell war bonds.
“The Thrifty Pig” relied on the familiar footage from “Three Little Pigs” from nearly a decade before, with some noticeable changes: the Big Bad Wolf is now a Nazi, and the third pig constructs his house out of Canadian War Savings Certificates.
The aim of the cartoon, of course, was to encourage Canadians to “invest in victory” by buying the certificates. It was an early test of the effectiveness of Disney toward the efforts to defeat Germany and Japan – and it was a success.
A couple of weeks ago, my friend and editor David Swindle published an open letter to me dividing the history of Disney animation into ten eras and encouraging me to explore the history of Disney through the same frame of mind. Here is the first in a series looking at the eras of Disney history.
As the United States slid into the Great Depression at the end of the 1920s, Disney’s output grew tremendously in quality and quantity. Walt and his team of animators and writers released plenty of entertaining product, but they also experimented, honing existing techniques and developing new ones. A struggling nation loved what it saw and couldn’t get enough.
Disney’s output during this time period reflects a uniquely American can-do spirit, one that helped this country survive the Great Depression in both determination and innovation. Here are ten great examples.
10. “The Golden Touch” (1935)
The 1935 cartoon “The Golden Touch” carries a special significance not because of any achievement but because of its failure – and because Walt himself directed it. The short, which tells the story of King Midas, has more of the feel of an episode of the Twilight Zone than a charming Disney animated cartoon.
Walt took control of “The Golden Touch” after a period in which he had criticized his directors repeatedly. He had not directed a cartoon in five years. The short, with only two characters, ran long on time and budget. The characters lack the appeal and much of the humor of typical Disney characters, and the story takes a dark turn with little of the typical Disney optimism at the end.
As a direct result of the failure of “The Golden Touch,” Walt learned to trust his talented directors, and he allowed them to continue to create, which of course allowed him to oversee the company that would change entertainment forever.
I approached Lisa De Pasquale’s new book Finding Mr. Righteous with some trepidation. Ann Coulter referred to it as “a true Christian story disguised as racy chick lit.” The reader reviews on Amazon contained phrases like “gets to the inner workings of the mind of an insecure young woman” and “as [if] she was writing about my loving and sexual past.” Our own David Swindle called it “a time bomb waiting to explode.” I thought, ohhhhhh boy. But when David personally recommended it to me, I figured it must be a good read.
Lisa didn’t disappoint. It seems a little weird to refer to her by her first name, since doing so goes against everything you learn about how you’re supposed to write, but after reading Finding Mr. Righteous and talking to her a little about it on Twitter, I feel like I’ve known her for a long time.
Finding Mr. Righteous jumps in to Lisa’s romantic and sexual life with gusto. She never pulls any punches when it comes to her experiences. Situations get steamy from time to time, but I never felt like I was on the verge of being offended. This is no creepy confessional or salacious tell-all — it’s a memoir of a mature woman telling it like it is, warts and all. More often than not, I’d finish a chapter thinking, so that’s what women think about men.
Lisa is a keen judge of human nature as well. She provides astute glimpses behind the facades of the men she’s dated. She offers plenty of fascinating observations like:
Chris was a cat person. But having one view wasn’t enough for him. He had to denigrate the opposing view. Chris’s cat versus dog views were like his views on religion. It wasn’t enough to just accept that some people are religious and some people are not. You had to be an atheist or true believer. And if you were a true believer, you were ignorant.
Conservative media icon Glenn Beck recently spent time with National Review‘s Eliana Johnson, and their time together has led to a revealing profile of a man who is changing his focus little by little from tackling hard news to impacting culture.
Beck shared the inspiration for his move toward culture: none other than Walt Disney.
The item that most inspires him right now is a prospectus of Disney World, hand-colored by Walt Disney himself, which he has propped against a window — or at least, a photocopy of it. He keeps the real item, which he won at an auction three years ago, at his home in Dallas. “I’m now the owner of every book written on Walt Disney in any language,” he says. He doesn’t know exactly how many that is. A year ago, he distributed a biography of Disney to the members of his staff. “I said when I left Fox that this half of my career is going to be shaped more by Walt Disney than anything else,” he says.
His interest in Disney is symbolic of the shift in his attention and efforts toward culture and away from politics. He had a realization: “Culture is the lead. That’s the dog. The news is the tail.”
He pulls out a piece of early publicity on Disneyland, points to a paragraph, and reads aloud. “Disneyland will be based upon and dedicated to the ideals, the dreams, and the hard facts that have created America and it will be uniquely equipped to dramatize these dreams and facts and send them forth as a source of courage and inspiration to all the world.” Beck, known to burst into tears at a moment’s notice, looks like he might do so right now. “That’s what we’re gonna do,” he declares. “That’s how I intend on impacting culture. To do that.”
The monorail systems at both American Disney theme parks serve as testimony to Walt Disney’s exciting futuristic vision. Monorails played a central role in the urban utopia of Walt’s Florida Project (and later on at Walt Disney World, of course), but many guests may not know that Disneyland has had its own monorail system since 1959.
Walt had wanted a monorail for the opening day of Disneyland, but his team had a difficult time finding a feasible plan for one. It took a trip to Germany for inspiration to strike.
During a visit to Europe in the Summer of 1957, Disney’s engineering group examined the experimental monorail developed by the Alweg Corporation, near Cologne, Germany. After further investigation, the group reported to Disney that this design appeared to offer the best prospects for economy, stability, and all-around practicality…
Walt asked Alweg to build a monorail for Disneyland, and he tapped Bob Gurr, an Imagineer who had worked on nearly all the other vehicles at the park, to work with the German company. Walt was pleased with the result and greenlit the Disneyland Alweg Monorail System, which opened June 14, 1959.
This “Highway in Sky” featured two trains, each with 3 cabins and the now-iconic bubble top in front. Walt Disney’s hope was not only to provide a scenic journey above Disneyland, but to create a solution for mass transportation needs all around the world.
Less than two months before his death from lung cancer, Walt Disney wrapped production on a short film detailing his plans for the 27,443 acres his company had purchased in Central Florida. He shared his grand vision for what his inner circle called the “Florida Project.” With writing help from Marty Sklar, Walt explained his ideas for more than just a theme park:
Right now our plans include an airport of the future (down here in Osceola County), an entrance complex where all visitors will enter Disney World, an industrial park area covering about 1000 acres, and of course, the theme park area way up here. And all these varied activities around the Disney World will be tied together with a high-speed rapid transit system running almost the full length of the property.
But the most exciting, by far the most important part of our Florida project—in fact, the heart of everything well be doing in Disney World—will be our experimental prototype city of tomorrow. We call it EPCOT, spelled E-P-C-O-T: Experimental Prototype Community of Tomorrow. Here it is in larger scale.
EPCOT will take its cue from the new ideas and new technologies that are now emerging from the creative centers of American industry. It will be a community of tomorrow that will never be completed, but will always be introducing, and testing, and demonstrating new materials and new systems. And EPCOT will always be a showcase to the world of the ingenuity and imagination of American free enterprise.
The futuristic city included a domed urban area with climate control for shoppers and hotel guests, along with transportation throughout the city via People Mover and Monorail. Residents of EPCOT (or Progess City, as some came to call it) would always have the latest technology at their fingertips. It was a bold dream, for sure, and some believed it would die with Walt.
In an episode of A & E’s Duck Dynasty last season, Sadie, the teen daughter of the Robertson clan’s Willie and Kori, needed a dress for the homecoming dance. Like many families, daddy and daughter had different ideas about suitable attire for the dance. Willie ordered Sadie to return the first dress she purchased.
“Is there something wrong with it?” Sadie asked.
“Yeah, there’s not enough material,” Willie complained. “Does Sadie look nice in her dress? Yes. But it’s the kind of nice the boys at school are going to think is really nice. And that’s going to make me really uncomfortable. Because she’s really young and she’s really my daughter. And I’m really accurate with a crossbow.
Willie echoed the feelings of thousands of parents around the country when he said, “It’s just that my daughter’s dressed up like she’s thirteen going on twenty.”
That resulted in a long afternoon at the formalwear boutique, with Willie rejecting one dress after another (while Uncle Si modeled tuxedos). An exasperated Sadie finally used her cell phone to call her mom from the fitting room for an assist.
The Robertsons, a family very open about their Christian faith on Duck Dynasty, eventually settled on a dress, but the show highlighted the very real problem of immodest and age-inappropriate formal attire designed for teens. While part of the problem is that the teens want to wear skimpy, body-clinging gowns, it is also true that dresses that are both modest and fashionable are often in short supply.
Hoping to change that, Sadie Robertson, age 16, made her debut on the runway at New York Fashion Week last week showing off her new line of “daddy approved” prom dresses that will be available next spring. Robertson collaborated with designer Sherri Hill to create the line and modeled two of the gowns at the Evening By Sherri Hill show at Trump Tower on Monday night.
Hill, who asked Sadie to be the celebrity spokesmodel for the line — called Sadie Robertson Live Original — worked with Sadie to create dresses both she and her father would approve of.
“Me and my mother and my grandma went to Sherri Hill’s place and we all picked out ‘daddy approved’ length,” Sadie told Fox News. “She also added a couple inches to some that we loved but weren’t modest.”
Sadie said that her dad had to approve all the gowns before they were accepted into the line. She follows the “finger-tip rule,” making sure all dresses are at list finger-tip length and said that “everything is modest up here,” referring to the bodices.
Many writers and critics have suggested that the Disney Studios has cultivated such a rarefied image of Walt Disney that some people think of him as just a character — like Betty Crocker or Aunt Jemima. While Walt was quite a character, he was also very much a real human being, and until the end of his life he stayed involved in individual projects throughout the company.
One of the last projects Walt was directly and heavily involved with at the studios was Mary Poppins, the story of a magical British nanny who brings a family together. The film — a sort of labor of love for Walt — became a hit with critics and the public alike and went on to win five Academy Awards.
Walt had his eye on the original novel as a project for the studio for two decades, when he first spotted his daughter Diane reading it. In his excellent biography of Walt, Walt Disney: An American Original, Bob Thomas picks up the story:
Walt read the book and recognized immediately that it was Disney material. The author, P. L. Travers, didn’t agree. She was an Australian lady who had lived in England and had taken her son to New York to escape the London Blitz of World War II. Walt asked Roy, who was going to New York in early 1944, to call on Mrs. Travers and express the company’s interest in acquiring the Mary Poppins stories.
Walt followed up Roy’s visit with a letter to Mrs. Travers inviting her to visit the studio and discuss what kind of production she had in mind. She remained interested but noncommittal. That continued to be her attitude over the years… It was not until 1960 that Mrs. Travers finally agreed to deal with the Disneys. By this time, Walt’s eagerness for the property had grown so acute that he paid an extraordinary price: he gave her approval of the screen treatment.
Mrs. Travers made two journeys to Burbank to view the storyboards for Mary Poppins. She objected to many of the liberties that had been taken with her characters, and adjustments had to be made. Walt Disney exercised his own considerable powers of persuasion to win Mrs. Travers’s approval. By the time she returned to England, she seemed convinced that the Disney innovations had originated in her own books.
No other project in the history of the Walt Disney Company has borne Walt’s stamp more than EPCOT. At the same time, no single project has undergone as many changes as EPCOT has. Through the years between 1966 when Walt Disney first introduced the EPCOT concept as the centerpiece of the company’s Florida Project and 1982 when EPCOT Center opened, the company produced a series of promotional films to promote what EPCOT was going to be. Let’s take a look at them and see how EPCOT changed over the years, from theory to reality.
The EPCOT Film, 1966
The first mention of EPCOT – the location as well as the concept – came in this short film. Disney produced the film a year after the first press conference announcing the company’s Florida Project, and the short gave Walt an opportunity to present his grand vision thoughtfully and in detail. It would be Walt’s last appearance before his death in December 1966.
The company first showed the film to Florida legislators and business leaders in February 1967 at a theater just outside Orlando. The showing had two purposes: to reassure these movers and shakers that the Florida Project was still a reality in the wake of its champion’s death and to grease the wheels for the massive legislative push that would create the Reedy Creek Improvement District, the quasi-governmental agency Disney uses to run Walt Disney World without local interference.
Walt commissioned Marty Sklar to write the script for the film, and Sklar does a fine job expressing the EPCOT concept. Additionally, The EPCOT Film explains for its audience the successes of Disneyland and the purpose of WED Enterprises, later Walt Disney Imagineering.
In the film, Walt’s ideas are more theoretical than practical (except for the theme park). In fact, Sklar himself referred to the Epcot concept as “Waltopia.” The prototype city with its climate-controlled downtown, minimal transportation, and experimental technology in every home would rely on free enterprise to sustain new ideas:
In fact, we’re counting on the cooperation of American industry to provide their very best thinking during the planning and the creation of our Experimental Prototype Community of Tomorrow. And most important of all, when EPCOT has become a reality and we find the need for technologies that don’t even exist today, it’s our hope that EPCOT will stimulate American industry to develop new solutions that will meet the needs of people expressed right here in this experimental community.
…if we can bring together the technical know-how of American industry and the creative imagination of the Disney organization, I’m confident we can create—right here in Disney World—a showcase to the world of the American free enterprise system.
The EPCOT Film displayed Walt’s exuberant and optimistic futurism in its purest form. Alas, his death less than two months after filming essentially put the kibosh on his experimental city concept.
Walt Disney gets the lion’s share of the credit for the success of the Disney company in its first four decades, and deservedly so. But many people don’t realize the influence that Walt’s older brother Roy had on the company. Roy served as Walt’s business partner and handled the business decisions for the company from its founding until his passing in 1971. Bob Thomas, author of Walt Disney: An American Original, published Building A Company: Roy O. Disney And The Creation Of An Entertainment Empire. Thomas’ biography of Roy tells his story like no one else can.
Roy Disney was born eight years before his brother Walt. Their two older brothers had grown up and moved away, so Roy took Walt under his wing, and the two were inseparable for many years. Roy served in Europe in World War I, and his brother’s service prompted Walt to serve with the Red Cross at the tail end of the war. Later, Roy contracted tuberculosis and moved to California to recuperate. When Walt decided to strike out on his own in Los Angeles, Roy was in a VA hospital in nearby Sawtelle. Walt visited Roy to tell him of his plans to start a studio. Roy walked out of the hospital with his brother and never looked back.
In the early days of the studio, Roy worked a camera, but that was the extent of his work in “show business.” The two brothers married – Walt married Lillian Bounds, while Roy tied the knot with his longtime girlfriend, Edna Francis. As the studio grew, Roy traveled back and forth to New York to meet with distributors or to secure financing. Many times, Roy found himself faced with the choice of acquiring more funds or refusing to implement one of Walt’s ideas. Roy rarely told Walt “no.”
In the 1970s, feminists revived goddess worship. Their reasoning: to Jews and Christians, God is male so we’re going to start our own She-ra, Man-Haters Club and have our own goddesses instead. Far be it from me to criticize someone for starting their own clique, but their disturbing lack of logic has rained on the chick parade ever since.
Compare the following Biblical account:
Now Deborah, a prophet, the wife of Lappidoth, was leading Israel at that time. She held court under the Palm of Deborah between Ramah and Bethel in the hill country of Ephraim, and the Israelites went up to her to have their disputes decided. She sent for Barak son of Abinoam from Kedesh in Naphtali and said to him, “The Lord, the God of Israel, commands you: ‘Go, take with you ten thousand men of Naphtali and Zebulun and lead them up to Mount Tabor. I will lead Sisera, the commander of Jabin’s army, with his chariots and his troops to the Kishon River and give him into your hands.’”
Barak said to her, “If you go with me, I will go; but if you don’t go with me, I won’t go.”
“Certainly I will go with you,” said Deborah. “But because of the course you are taking, the honor will not be yours, for the Lord will deliver Sisera into the hands of a woman.”
…with the following historical account:
The foulest Babylonian custom is that which compels every woman of the land to sit in the temple of Aphrodite and have intercourse with some stranger once in her life. …most sit down in the sacred plot of Aphrodite, with crowns of cord on their heads …Once a woman has taken her place there, she does not go away to her home before some stranger has cast money into her lap, and had intercourse with her outside the temple… It does not matter what sum the money is; the woman will never refuse, for that would be a sin, the money being by this act made sacred. So she follows the first man who casts it and rejects no one. After their intercourse, having discharged her sacred duty to the goddess, she goes away to her home… There is a custom like this in some parts of Cyprus.
Prophetess or prostitute — there’s a million-dollar question. Why represent the Living God when you can enslave yourself to unknown men in service of a sculpted woman?
The irony deepens when one continues to read (not stereotype) the Bible to find that Israelite women didn’t need to waste their time fighting to be equal to men; they were busy fulfilling their own unique role in society. Created with an intrinsic spiritual link to God, women were the first teachers of Torah to their children. They managed their homes, families, and finances. While other women served gods and goddesses by sacrificing their bodies and their children on pagan altars, Hebrew women were called by their God to birth, raise, educate, build, and prophesy to their nation. Long before American women decided they needed equality, Israelite women were divinely empowered.
Yet it’s this revived goddess theology, not biblical feminism, that has trickled down from yesterday’s second-wave feminism into today’s pop culture to the point where the term “goddess” has become a compliment slung about among women anxious to buy t-shirts, mugs, and jewelry encrusted with a term of ancient slavery. Nowhere is the pop-goddess trend more evident than on television, where women continue to be defined and glorified through sexual acts. Paris Hilton, Kim Kardashian, and the “Backdoor Teen Mom” have all reached stardom through cut-and-dry video prostitution, while fictional shows like HBO’s Girls provide more high-brow, intellectual goddess-fodder, which the graduate school-educated critics crave.
We live in an era where children in their formative years do not know what patriotism means. My grandparents’ generation knew what it meant to love America and to stand up for its ideals, but the leftists of my parents’ generation — the Baby Boomers — screwed it up for all of us. To them, the only measure of patriotism was opposition to President Bush. Remember: “dissent is patriotic.” (Tell that to the IRS.)
I was blessed to grow up with parents who loved America despite having lived through the ’60s, but many members of my generation don’t know how to be patriotic, thanks to political correctness, multiculturalism, and the growing influence of the far Left.
While the vast majority of pop culture mocks patriotism, one famous name has celebrated American exceptionalism for more than seven decades: Disney. This unabashed love of America began with the company’s founder.
Walt Disney grew up as part of the World War I generation — a time that saw both the enthusiasm of the dawn of the 20th century and the unspeakable horror of threats to freedom and peace across the globe. Though too young to serve in the war, Disney worked in the Red Cross Ambulance Corps after the war. He wanted to serve his country, one way or another.
After his move to Hollywood, Disney’s love for America drove him in many ways to develop the unique entertainment he created and to lead his studio the way he did. He believed that America’s values were worth celebrating and sharing with the world. He once said:
Our heritage and ideals, our code and standards — the things we live by and teach our children — are preserved or diminished by how freely we exchange ideas and feelings.
Disney admitted to a patriotism that occasionally overwhelmed him. He once confessed, “I get red, white, and blue at times.” His love of country showed up in his films and television programs and has carried on in the theme parks that bear his name nearly half a century after his death. Sometimes the Disney brand of patriotism makes itself known in subtle ways, while at other times, it jumps directly in your face.
Ask almost anybody to name the most important things in their life, and chances are family will make its way onto the list. Family — or at least the idea of it — lies at the core of most people’s existence. In the Judeo-Christian tradition, God designed the family to be the catalyst for spiritual, physical, and emotional growth. The biblical idea of family is built around mutual respect and well-defined roles. You can find plenty of advice in the Bible on how to live life within the family:
“Honor your father and your mother, as the LORD your God has commanded you, so that you may live long and that it may go well with you in the land the LORD your God is giving you.” Deuteronomy 5:16
“Listen, my son, to your father’s instruction and do not forsake your mother’s teaching.” Proverbs 1:8
“A wise son brings joy to his father, but a foolish man despises his mother.” Proverbs 15:20
“Children, obey your parents in everything, for this pleases the Lord.” Colossians 3:20
“Fathers,do not exasperate your children; instead, bring them up in the training and instruction of the Lord.” Ephesians 6:4
“Start children off on the way they should go, and even when they are old they will not turn from it.” Proverbs 22:6
Walt Disney lived these values too. He loved his daughters and grandchildren, and his ultimate goal was to provide quality entertainment for families. He designed his theme parks to be fun for parents as well as children, and his films and television series contained elements that the entire family could enjoy.
On the next few pages we’re going to look at the value of family in some of the classics in the Disney canon. The studio released four of these films during Walt’s lifetime, and one came out four decades after his death. Enjoy!
We live in an era of disposable pop culture. All around us we see vapid reality series, uninspired (and uninspiring) music, movies that are little more than retreads of other bad ideas, and starlets who are famous merely for being famous. Of course, this stuff is not necessarily bad in and of itself — in fact, mindless pop culture can make for some great “guilty pleasure” moments.
The truth is, when any form of entertainment achieves excellence, we notice. Television programs like Mad Men and Friday Night Lights, music by artists such as Mumford & Sons and Zac Brown Band, and films like Lincoln and Les Miserables attract attention because they raise the bar in their genre.
The idea of excellence as something for which to strive goes back to the Bible. Jewish and Christian believers alike are aware of the admonishments in Scripture to give our all. In the book of Ecclesiastes, King Solomon advises:
Whatever your hand finds to do, do it with all your might, for in the realm of the dead, where you are going, there is neither working nor planning nor knowledge nor wisdom.
Ecclesiastes 9:10 (NIV)
And the Apostle Paul encourages the believers in Colosse:
And whatever you do, whether in word or deed, do it all in the name of the Lord Jesus, giving thanks to God the Father through him.
Whatever you do, work at it with all your heart, as working for the Lord, not for human masters, since you know that you will receive an inheritance from the Lord as a reward. It is the Lord Christ you are serving.
Walt Disney felt the pull to achieve excellence, in part because his name was on every product the studio created. He once said, “Anything that has a Disney name to it is something we feel responsible for.” He instilled the value of excellence in his staff as well — he once hailed his staff as “the ones who insist on doing something better and better.” A sign on a construction wall from my last trip to Walt Disney World expresses this value.
Over the course of the next couple of pages, we’re going to take a look at how this value of excellence shows up throughout Disney culture.
So, you want to pitch a TV show — a sitcom no less! Or maybe you’re just an armchair TV enthusiast, a mental writer playing out episodes of the ideal sitcom in your head. Whether your concept is ideal or idyllic, if you want to get it off the ground, you need to get your head out of the clouds and start viewing your human reality in terms of numbers — good numbers. Take a tip from Seth MacFarlane: Be sure to include an African American, a disabled character, and an Asian reporter if you want to stand a chance in TV land.
In other words, start counting your minorities.
It’s all in the spirit of being fair that we view people based on their color, class, gender, or physical ability. Not only is it fair, it is super easy to follow the 4-step program for crafting your perfectly pitch-able TV sitcom.
So, get out your calculators and get ready for a math lesson in how to write a situation comedy for television!
Throughout this series I’ve questioned where the line is drawn between reflecting and affecting when it comes to the media’s relationship with real life. Either way, the determining factor is relatability. You aren’t going to imitate something unless you can relate to it, and if you can’t relate to a show, chances are it isn’t anywhere near a reflection of who you are.
So, in the interest of all things entertainment, let’s take a simple quiz to determine your relatability factor when it comes to the portrayal of “traditional family” on television using two popular prime-time family-themed shows: Family Guy and The Middle.
Family Guy: The show is apathetic, even nihilistic at times, mocks the same politically correct values it thrives on, and typifies men and women in terms taught best in Gender Studies 101. The Middle is one of a handful of shows to make it to the air that depicted exactly what its title intimated: a middle -lass, middle-of-the-road family living in the middle of nowhere, America. As working middle class as the Griffins, the Hecks are a family of five that mirrors the demographics of the Quahog clan: father, mother, two sons with a daughter in the middle.
So, what’s your relatability factor? And how does your relatability compare with the ratings? Take this simple five-question quiz to find out!
Poor Seth MacFarlane. The guy sings one song about boobs and suddenly he’s #1 on the Hates Women List with a Steinem next to his name. (That means if they capture him, she gets to rag on him incessantly. Who wouldn’t want a bullet after that?)
It’d be too easy to join the chorus singing, “MacFarlane hates women.” As a woman, I despise the cop-outs women often take, chiding every man as being both the desired master of her universe and the despised crafter of her fate. If we really believe in Girl Power, what’s our responsibility in all of this? Are we allowing the fate scripted by guys like MacFarlane to come true?
It took about 10 minutes to pull video for the following five most common stereotypes about women portrayed in Family Guy. The sad news is that it took about 15 to pull five examples of the same behavior from the most popular Girl Power reality television show out there: The Kardashians. Praised by some feminists as career women comfortable in their own skin, it has been observed that “50 years ago, the Kardashians could never live the way they do. It’s all thanks to the Feminist movement that they are who they are – and they embrace every benefit from it fully.”
So, culture judges that you are, tell me: Is the evidence compelling? Is MacFarlane a He-Man Woman Hater, or do the Kardashians prove that girls finally busted through the glass ceiling in the tree house and joined the club?
Watch out, ladies in the dating world: Family Guy’s prized demographic is totally Petarded.
According to the show’s creator, Family Guy’s target audience is men ages 18-34. This happens to be one of the most desirable demographics for advertisers and women looking to eventually get married and settle down.
Who hasn’t dreamed of a life with Peter Griffin?
Obviously, not all men between the ages of 18 and 34 are going to find the humor of Family Guy appealing. Yet a growing majority of them do. I long ago learned as a woman not to attempt to comment on the male psyche; why these men find Family Guy so appealing is not in my realm of interest. However, the message Family Guy sends about masculinity is so apparent that I can’t help but laugh at this not-so-subtle irony: Most women looking for men, the ladies trolling the clubs and hitting Happy Hours at the bars, are the ones who tend to stereotype men exactly the way they are portrayed on the show.
Part 1 of a 4 Part series Deconstructing Family Guy
When Seth MacFarlane sang about boobs at the Oscars, I’m pretty sure he was referring to his own fans.
Most of the time it is taken for granted that we recognize the latent moronic nature of most television programming today.
Then again, do we?
If we agreed as a culture that television programming like Family Guy is so moronic, why would a collective cheer rise up at the sight of another Emmy win? Would we be told by media commentary royalty to worship Seth MacFarlane, the show’s creator, as fascinating? Not only does the guy have mega street cred in the pop culture universe, the primetime structure he’s so wholeheartedly mocked is singing his praises. In fact, it could be said that Family Guy’s seemingly counterculture humor has been legalized by the mainstream.
What’s more, like a bad addiction, Family Guy is the drug that has turned a generation of Boob-Tube addicts into junkies. So, what are the signs, Doctor? How do you know when a co-worker, a friend, even a loved one has become a total Boob? Let’s play MediaMD as we examine the 5 most common side effects of watching Family Guy.