Pixar Studios: More Animated Lies from Creative Capitalism

Pixar, the kids-focused animation brainchild of Steve Jobs, now part of the Walt Disney family, just posted a casting call for its first “14-year-old transgender female character.” Well what do you know?

No word on whether Jess is/was a boy trying to become a girl or vice versa. But Pixar did ask San Francisco-based Trans March to push out the request on Twitter, a shot at significant stardom if this person can “play the part.”

I’d written about Disney’s need for wokeness, when a Pixar character and beloved toy, Mr. Potato Head, recently made news for plans to remove his offensive “maleness.” So how long will it be before the make-believe characters are all “trans-formed?” 

After all, Pixar has long been trying to turn back progress. Just start at the beginning, Buzz Lightyear is a spaceman and Woody the Cowboy (not to mention Jesse the Cowgirl)—need we go any further?  

The Pixar pigs used terms like “boy” and “girl” as categories for characters who disguise white (hetero) male themes beneath children’s fears of acceptance and abandonment. Nice try. 

Does the Animation studio ever mention the actual forces of conflict: class warfare, gender inequality, or intersectionality? And are these the only crimes of capitalism-as-children’s-entertainment?

The movie “Monsters, Inc.” portrays a world of monsters who scare children (their slavish jobs) to energize their society. In “Finding Nemo,” they have a traditional dad trying to reunite with his son who is lost in the ocean. 

Nemo’s companion is a straight “girl” with memory loss that, though never explained, was probably derived from being raised in disparate underwater conditions.

“The Incredibles” is just a more shameless promotion of the bourgeois white family, “unemployed” superheroes who strive “only” for a joint mission to find harmony and love as a family. 

Pixar tries to cover their tracks in “Ratatouille” by having the main character, “a rat,” live in the gutters. Still, even there, the creature aspires to Western notions of fine cuisine and Parisian romance. 

We understand the message: the gutter “inner city” wasn’t good enough for gutter rats who inwardly want to be white. But, again, the playful characters and imaginative creators are not fooling anyone.  

“Toy Story,” is the film that started this mess and transitioned Disney from the classic style of propaganda to the more polished high-tech version. The film featured Mr. and Mrs. Potato Head characters, but they were not transgender, though their body parts are interchangeable?  

Of course, Woody’s love interest is one Little Bo Peep—no comment is necessary on that “little” bit—looking for her little “white” sheep. The antagonist is Sid, who lives next door and “dismembers” toys (castration guilt), and his repression leads to his acting out with antisocial behaviors. He’s only the victim.

Buzz’s gender dysphoria is disguised as confusion about whether he is a real spaceman or not or whether his own “laser” gun is real. They even have a character named Hamm, a piggy bank. 

Get it? The banker himself is a hero who helps save the day.  

The finale is the lie of all lies, that one critical theory alone would have crossed out if Disney were truly woke. This is when the white ensemble with the actual family house try to “save” the imperfect toys that don’t quite fit any stereotype. 

It’s just bourgeois nonsense seeking to “save the proletariat.” In reality, Sid can’t save himself because of the system that is rigged against him!   

Folks, we live in a time when we are finally free to rid ourselves of Disney’s and Pixar’s nonsense—these opioids of the people—so that we can wipe clean the self-serving bourgeois illusions like self-sacrifice, faith, and community. 

Pixar’s human heart struggles only serve as masks for the battle before class, genders, and races. It’s time we allow the woke creative types to start rewriting our history and culture and “transform” the next generation. 

Their time has come.


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About Robert Orlando

Robert Orlando is a filmmaker, author, entrepreneur, and scholar. As an entrepreneur, he founded Nexus Media. As a scholar, his studies include film, religion, ancient and modern history, and biography. As an award-winning writer and director, his films include the thought-provoking documentaries "Silence Patton," "The Divine Plan," and "Citizen Trump." His books include Apostle Paul: A Polite Bribe and The Divine Plan. His work has been published in American Thinker, The Catholic Thing, The Daily Caller, HuffPost, Patheos, and Merion West.

Photo: (Photo by Gabe Ginsberg/WireImage)