So if I told you someone was using century-old hand-crafted artisanal methods to adapt traditional folk tales into a quaintly obsolete art form from the American Golden Age that would sound like the most twee, precious, non-normie thing ever and I just described Disney animation.
Disney\u2019s pretty weird like that. Like, take the parks. They\u2019re combinations of Coney Island and World\u2019s Fairs with this undisguisable midcentury earnestness. These are places that get seriously psyched about the potential of novel transit modalities.
And the theming - \u201cLet\u2019s look forward to the wonderful future of space exploration, celebrate our roots in farm towns and the frontier west, AND enjoy the exotic charm of the South Pacific and Old Dixie!\u201d
THERE IS A PAGEANT WHERE ROBOTS PAY TRIBUTE TO EXECUTIVE-DRIVEN WHIG HISTORY.
Oh. Oh. And. \u201cThe rides aren\u2019t very thrilling, but your kids will love the chance to explore the worlds of all their favorite authors - A.A. Milne, J.M. Barrie, Kenneth Grahame, Mark Twain, AND Lewis Carroll - while you\u2019ll marvel at the exquisite background design.\u201d
(Sun-dappled Edwardian neoteny and obsessive set decoration. Wes Anderson makes movies like Walt Disney made parks.)
And we\u2019d recognize this all as a weird thing to exist in 2015 if we weren\u2019t just used to it as the background noise of America. Like, I don\u2019t really watch TV so I don\u2019t see commercials much these days.
Oh man, they\u2019re a trip in their own right if you\u2019ve stopped taking them for granted. Like, \u201coh hey, for the next 30 seconds some of our best artists are going to use all their techniques and leverage all your emotions and desires and every social value in a masterful, unapologetic, and unforgettable bid for you to give us money, and then everyone will move on and no one will acknowledge this even happened.\u201d
But the Disney World commercials in particular - you notice they don\u2019t really make a case for going to Disney World, or even really explain what Disney World is. Because they\u2019re not pitching Disney World, they\u2019re reminding you of Disney World. It\u2019s not \u201chey, Disney World is a thing you could go to\u201d, it\u2019s \u201chey, maybe it\u2019s time for this generation\u2019s pilgrimage\u201d.
Disney\u2019s weird. It\u2019s kind of a company, but also custodian of some of the cultic functions of American culture, something like the priestly colleges of ancient Rome.
Like, they maintain sites of pilgrimage. I\u2019m not saying that as a joke. Back of the envelope calculation, Americans go to Disney parks at a rate 7 times higher than Muslims go to Mecca. (The line between \u201ctourist trap\u201d and \u201creligious site\u201d has always been thin.)
And they\u2019re custodians of the national narrative. Like I\u2019ve said, they pitch \u201ccontinuity with prewar small town and earlier frontier culture\u201d as a fundamental, almost taken-for-granted aspect of Americanness with a confidence and charm you don\u2019t often see these days. And I mean, hell, the Disney animated canon itself basically is to America what Grimm\u2019s was to Germany.
And as custodians, they curate that narrative - like, we joke about \u201cyou know your identity group\u2019s made it in America when you get your own Disney princess\u201d, and laugh at the people reediting Disney character designs to look like their specific subgroup, but that only works because it\u2019s fucking true, your identity group\u2019s made it in America when you get your own Disney princess. I\u2019ve worked with Disney Channel casting, and they mix ethnicities with the same care, precision, and scale that Pfizer mixes drugs.
And that robot pageant, the Hall of Presidents? Look at this history. It started out in the \u201870s as a celebration of consensus history and popular triumph, with character actors playing great men and Civil War tensions understood as a challenge to national unity. In 1993 it was reworked by Eric Foner to be narrated by Maya Angelou, use \u201cregular people\u201d unknowns to portray more vulnerable takes on historic figures and re-frame the Civil War in terms of slavery as a moral challenge. In 2009 they redid it again, mostly keeping the changes but bringing back some of the old Hollywood charm and putting Morgan Freeman as the voice of civic authority.
And like, as a representation of how America understands itself and its history, correct. That is absolutely, in every way, 100% correct.
(In the other direction, Walt Disney originally wanted to call it \u201cOne Nation Under God\u201d, which yikes)
They say American copyright terms keep getting extended under pressure from Disney who wants to keep hold of all their founding properties, I almost wonder if it wouldn\u2019t be less of a corruption of the civic system to just carve out special protections for Disney in recognition of their distinct role in America.
But\u2026 at the end of the day, it\u2019s all just a strategy to maximize profits.
I used to be a lot more libertarian than I am now, and one of their tribal boogiemen, the idea of a \u201cMinistry of Culture\u201d - a government that sees the national culture as its domain, to shape as it will, \u201cas it will\u201d meaning as it always does with governments \u201cthrough the instrument of bureaucracy\u201d - that still rankles.
But what\u2019s the alternative, though? You think about it and you realize it\u2019s this - the national mythos rests in the hands of a publicly traded corporation.
(And then you maybe start to appreciate WHY having your king as the head of your church once made sense as a symbol of liberty and self-determination.)
((And start to recall the CIA going around giving grants to the avant-garde with a certain fondness.))
We live in the capitalpunk AU.
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