Further “Wish” and Disney Animation Revelations from Insiders via Film Threat
We’ve reported the amazing revelations that Film Threat’s great Chris Gore and Alan Ng have shared on their channel (link here) about things insider animators past and present at Disney have sent to them confidentially about their experiences dealing with the “Woke” culture at Disney. NOW they have shared more information that is stunning and shocking to say the least.
First, they now say mainstream “journalists” (quotes use explained in a moment) are reaching out to them to verify these claims AND demanding photos, pay stubs, and verification that their sources do or did indeed work for Disney animation! I wonder if these journalist-shills would ever give up THEIR sources on a story and I wonder if the requests are actually coming through them from Disney itself and why anyone with any sense or understanding of what a confidential source is would think these men of integrity would ever give that up. They didn’t, they won’t, and so much for that.
But what these people have revealed is the point and wow is it ever a major one as to not just why “Wish” is so awful but why Disney is so utterly corrupted by their political obsessions. Among the points:
Wish was made in about 3-4 months of actual animation time, nowhere near the time put in to a typical Disney classic animated film. The total budget was $250 million—so how do you do that in such a short period of time and turn out such mediocrity and “flat” animation?
The animators were so upset with poor management, bad work conditions and other not-the-way-they-used-to-be-treated situation that THIS led to them discussing unionizing. The hostile work environment also included the fact that ANY less-than-far-left opinion expressed by anyone about ANYthing would instantly result in a referral to HR for discipline.
Further, when John Lasseter was booted from Pixar for the simple “crime” of being a hugger, not a rapist, and that he enjoyed a drink from time to time, the women there demanded a female be put at the top (again, not based on talent but on gender) and this rippled through the whole Disney company putting all male execs in terror due to the activists at every level of management company-wide.
Moreover, Disney has had to go to third-party companies in many instances to do animation of things that their in-house woke-activist animators and admins won’t work on at all. The company, they’re told, has been hiring people based on race rather than talent for years. This has led to some veteran, famous animators who’ve made millions and huge careers with Disney leaving the company for good, and now college students seeking a career in animation no longer look at Disney as a viable option because they have heard these inside stories about the attitude at the Mouse and just plain don’t want to engage in that, which is hardly amazing since talented people want to work for and be judged by their own abilities, not their politics or skin color or gender.
The activist rot is so deep that the idea that this can somehow be fixed by “turning down the noise” or a one-time apology. This is not just a matter of general opinion, but backed up by many specific instances verified by these insiders and former employees on occasion after occasion. People are being forced to choose between staying silent, even being careful with passing comments or casual jokes for fear of retribution…or speaking normally and being written up and fired.
This is all something that’s been going on for years, and when Iger says he’s spent his first year “back” (he never left) “fixing” things, implicitly attacking Chapek who (a) brought the stock to high levels and (b) cannot answer back due to non-disclosure conditions of his separation from the company, well, it is Iger and his minions who need “fixing” and if and when a new management team comes in thanks to Peltz or any other investment community common-sense folks, it will take an Elon-at-Twitter-style purge of masses of people from the company to even begin to solve the problems there, let alone try to regain the trust of the audiences who have rightly rejected the dangerous and family-threatening content and intentions in the films, the parks, and everything else.
Film threat concludes by making a shocking suggestion: That maybe people who create animation (and by extension theme parks and other experiences and products) that are intended for children should be people who HAVE children! WHAT A CONCEPT? Or as a certain “fantasmic” mouse would once have put it:
“Some imagination, huh?”
We here at TPP will be following further revelations from Film Threat and you should too.
