Top Ten Disney Cartoons that Trigger Libs!

So…some of my readers might have noticed a trend in my blogs: I’m kind of really, really…liberal.

Now, why do I bother putting my political views in my blogs about Disney cartoons? Why burden my readers by hearing my snowflake keister whine about things like political correctness or universal healthcare or commercials that feature gay people? Well, aside from the fact I think speaking out against social injustices as a white male is the very least I can do to help the world be a better place, I do it because media, much less Disney, does not exist in a vacuum. Our movies and TV are inspired and shaped by the world in which they’re made, and we, in turn, shape our perspective based on what we internalize. And more significantly, when it’s something as huge and extensive as Disney, and is such an influence to us as impressionable kids, to think it has no bearing on our development is foolish at best. Of course it does. We are just as much the products of our upbringing as we are of our genetics. We have to consider the media we consumed as children if we want to look at how we perceive the world as adults.

But I’m sure you’re wondering, “Why the clickbaity, inflammatory title if you’re a liberal yourself?” Well, I’d be remiss if I didn’t sheepishly admit that I am, in fact, fishing for clicks. But my main reason for this title is I have read SO MANY articles from Buzzfeed and Cracked promising “The most shocking and appalling Disney cartoons! Number six will send you into cardiac arrest!”, but they really only scratch the surface with what’s actually out there. I mean, they’ll always rail against Der Feuherer’s Face and Song of the South, but they almost never include Too Smart for Strangers or The Story of Menstruation, the hacks. And more often than not, they’ll include the ones that feature a singular gag. The Three Little Pigs (1933) is a mostly harmless cartoon, but you might hear there actually was a pretty awful anti-Semitic gag in it early on. But not only was it one joke, but in later versions, it was changed to the Fuller Brush Man.

No, I’m looking for the cartoons that really pushed the boundaries of good taste. The ones that actually would piss off any liberal, or really, any decent human being with a shred of empathy. These are cartoons that can and should make anyone genuinely uncomfortable. And while I don’t think we should ignore them (If I believed that, I wouldn’t be writing this), I do think we should look upon them with 21st century eyes and reflect on how far we’ve come and how far we have yet to go.

10. Education for Death: The Making of the Nazi (1943)

This is easily one of the darkest Disney cartoons ever made. It chronicles the life of a young man named Hans growing up in Nazi Germany. In a very dramatized depiction, the boy is shown revering Hitler as an idol, learning cruelty as an acceptable way of life, and ultimately, his demise as he marches off to war. The reason this one is so low on the list is pretty simple: it was supposed to be shocking and horrific, and I think even the most radical of liberals can see that.

World War II has been repackaged and sold as the one war with clearest good/bad dichotomy the world has ever seen. In every other war, the other sides have their own reasons for fighting, however misguided. But Nazis? Their thing was genocide in favor of the Aryan race. Kill indiscriminately except the pure white, blond, blue-eyed, straight, able-bodied Germans. And maybe some Italians. But in our efforts in the past 80 years to condemn Nazis and their ideology, much like Eve and that tasty Garden of Eden fruit, the allure of the forbidden has drawn admirers and white people who are sick of this nutty “diversity” concept. For better detail on this, here’s a video by Lindsay Ellis about it. As little as five years ago, Nazis were historical bogeymen. Caricatured and stereotyped with their stoic aggressiveness, cowardice in the face of accountability, and yes, their hyper-efficient, zealous obedience. But thanks to Leni Riefenstahl, the imagery of the Nazis has endured, where even The Lion King borrowed it to emphasize Scar’s rise to power.

Now, Nazis are a threat, but only because we have a president who enables then. Which is exactly why this cartoon went from being a troubling yet quaint bit of historical pop culture to something much, much more sinister. We watch a boy who looks distinctly like Pinocchio learning that the weak are cowards who are destined to die at the hands of the strong.

Halfway through the cartoon, the narrator talks about how Hans learns of the tale of Sleeping Beauty, and we see it portrayed with political symbolism. The witch (This was long before the now-famous Maleficent and the 1959 movie) is democracy, the princess is Germany, and Hitler is the prince. But for the entirety of this one scene, all that drama and intensity is thrown out the window. Never mind the unhinged, cartoony style and actions of a silly-looking Hitler, the woman representing Germany is…

Yeesh.

Adolf rants and screeches in faux German with insane gestures, while the obese woman yodels “Heil Hitler!” over and over, giggling incessantly, even rubbing his face in her boobs. The joke is, of course, “Lol! Look at the fat, alcoholic, homely broad! She wants to manhandle Hitler, and it’s funny ’cause she’s so fat and ugly! Lmao, he can barely carry her, the fat lady! Lol fatty fatty fat fat ugly broad!”

Even today, we’re not unused to jokes about overweight, and/or unattractive women who make advances on men, but man, this is crazy. Even Rebel Wilson would find this uncomfortable.

Charges: Nazi imagery, depictions of Nazi fascism, fat-shaming

9. Father’s Day Off (1953)

A fundamental concept in comedy is the law of opposites. A big, masculine dude with a squeaky, effeminate voice? Funny. A country bumpkin trying to adapt to an upper class lifestyle? Classic. A brilliant scientist who can barely remember to wear pants? Humorous! Similarly, more than a few jokes have been made regarding the polarity of gender roles, especially when it comes to men doing the oft-maligned “women’s duties” of housework. Just ask Michael Keaton.

Goofy, like pre-Batman Keaton, has never been seen as a hegemonic male. At best, you could point to his love of sports, or that his wife never seems to be shown on camera. In fact, speaking of Mrs. Goof (Er, Geef), how does this cartoon begin?

Goofy/George Geef and son Junior bid farewell to the missus as she pulls out of the driveway…and causes a frightening amount of property damage. Goofy chuckles in approval, “Hyuck! She made it!” I get that women driving was a common punchline back then (if you ever watch the opening day of Disneyland broadcast, watch Art Linkletter joke about how women in the Autopia attraction get additional safe space.), but wow. And remember, that’s not a character-based joke: that was one specifically tailored to an audience that think all women are dangerous drivers.

Throughout the rest of the cartoon, Goofy bumbles through the household chores, trying hard to be cleverer than his wife in tackling the dishes and their son’s hair, but slowly, he starts to lose control, and everything goes to pot. All misandry jokes, right? That men are incompetent buffoons who can’t do women’s work? That THAT must negate that “women are bad drivers” gag from earlier? Well, no. Sure, it’s the premise of the plot, but remember it stars a character whose entire shtick is to be klutzy and not terribly bright. His wife has no such crutch, so she is a blank slate. She is only known as a woman/wife, so audiences are meant to laugh only at the correlation. Keep this in mind for the next joke at her expense.

When Goofy answers the door for the milkman, he’s stunned when the milkman gives him a huge kiss without opening his eyes. Goofy, in his usual fashion, brushes him off as a “friendly cuss!” And then it happens again with the grocer, and even the dry cleaner expects a smooch! That’s three men who seem to visit the house regularly enough to expect a kiss from a married woman! Oh sure, Goofy takes it in playful stride and just goes with it, even expecting to be kissed when a neighbor drops by with a squalling baby. But the joke is clear: Goofy’s wife is kissing every man who comes to their door without his knowing. Even at its most innocent, this is kind of unnerving for a Goofy cartoon.

So no, this cartoon does not get a pass because it makes fun of men, too. This cartoon makes fun of Goofy, a character who embodies slapstick, but the jokes about his nameless, faceless wife are meant to target a broader spectrum than just one character. Never mind at least Goofy’s at least trying to run a smooth household.

Charges: Misogyny, sexism

8. No Smoking (1951)

Say what you will about vaping, but I’d rather have a thousand vapers puffing in my house than a single person smoking a single cigarette in a twenty foot radius. Even if vaping is proven definitively to be just as unhealthy, I don’t have to inhale those noxious fumes.

Though the Surgeon General did not publicly announce the dangers of lung cancer until 1964 (And Walt Disney’s nicotine-induced demise happened two years later), the idea that smoking was not without its drawbacks was prevalent. In No Smoking, we are treated to a brief, but playful depiction of the history of smoking, which plays with such joviality as one would animate the history of, say, chocolate. In act two, we are given George Geef’s daily routine involving his frightening addiction. Soon, in the middle of his workday, the narrator shows the more benign symptoms: irritated eyes, the hacking cough, and shortness of breath, prompting Goofy to announce those famous words, “I quit!”

Good for him, right? Well, right away, his hands gets fidgety, and the allure of tobacco is unintentionally rubbed in his face by his colleagues. Within 60 seconds, Goofy loses his mind, shouting how he is no quitter, and he liked smoking. Thus, the third act is Goofy scrambling around the city, hollering “smoke! Smoke! SMOKE!” He runs into various obstacles, trying to get his gloved hands on anything that can quell his nicotine fix. At the end, he begs a stranger:

Hey mister, you got a cig, a fag, a pipe, nail, weed, rope or chaw or… cigar or snuff or anything, just ANYTHING!

Yeah, I’ll give a pass to “fag”, since it’s a British slang term for cigarette, but weed? And frankly, I’m lost on what “nail” or a “rope” mean, but seriously, Goofy asked a guy for weed!

The cartoon ends on a note of satisfaction. He is given a cigar, only to find out it’s an exploding prank cigar, but he’s just as content as a cucumber because he got his fix. Boy howdy, what a way to end a cartoon, huh? Goofy smokes, kids! Addiction will always be there for you!

Charge: Depictions of smoking and addiction

7. Steamboat Willie (1928)

Oh, what?! Now I’m gonna crap all over Mickey Mouse’s first cartoon? What am I, a jerk? Actually, speaking of jerk, Tony Goldmark once made a pretty profound statement in his video on the Pirates of the Caribbean Redhead controversy when he says, “Because something is good doesn’t mean it’s not problematic, and just because something is problematic doesn’t mean it’s not good”. And that really applies here. Steamboat Willie is a great first cartoon for the Mouse, and there is some true value in its frames.

BUT…

After Minnie comes aboard, a goat eats her sheet music for “Turkey in the Straw”, and they turn him into a phonograph. That’s fine, it’s basic cartoon physics. But once Mickey gets going over the music, his sadistic side comes out. After banging on pots and pans, Mickey grabs a cat by the tail, and starts yanking on it! The cat’s yowls are meowing to the beat of the song. And when he finishes it, he swings the cat around over his head and lets go, where it knocks against a trash can lid Mickey was using as a cymbal. Dude, you do know your boss is a cat himself, right?

Next, he grabs a goose. By squeezing its body and stretching its neck, he can force the bird to honk in rhythm to the music.

But the third one is most unsettling of all. Mickey stumbles upon a sow with her piglets suckling her teats. Mickey, now a confirmed psychopath, starts yanking on the piglet’s tails to get them – you guessed it – to squeal to the music. And it doesn’t stop there. He eventually picks up the pig, and shakes off the piglets. When one stays on, Mickey just straight up kicks the hungry baby off, flips the mother over, and presses her teats, having her oink and grunt on beat. All the while, the piglets bop along to the beat as Mickey Mouse continues to manhandle their mother.

I’m tempted to add Mickey throwing the bucket or a potato at a parrot, but that hardly compares to anything we see in the segment. Seriously, Mickey, what the actual smoo?

Charge: Animal cruelty

6. The Mad Doctor (1933)

So what do you watch for horror every Halloween? Hocus Pocus? The Nightmare Before Christmas? Maybe if you’re even nerdier, you watch 1929’s The Skeleton Dance. Those are cool and all, but if you want to see some truly disturbing Disney for All Hallow’s Eve, May I recommend this sordid little cartoon?

Mickey wakes up in the middle of the night, during a thunderstorm when he notices Pluto has been abducted and hauled off by a mysterious figure. The figure drags the dog to his…next door castle. (Damn, man. The HOA must be super lenient in your area). Mickey gets lost in a labyrinth of dungeons and corridors, getting pranked upon and stalked by numerous skeletons, even a giant skeleton spider, who even go so far as to throw their own skulls at Mickey. There’s one shot of Mickey tiptoeing down a cramped hallway that’s like something straight out of Bendy and the Ink Machine.

But that’s hardly the scary part. Why does the Mad Doctor (Or as his door reads, Dr. XXX) want Pluto? Well, he displays it in his…clearly heavily researched hypothesis on a chalkboard.

Wait…is that supposed to be blood on the saw? Way to step up the realism, there!

Um…what? I think I need to revoke your credentials, doc. Because I don’t think you can remove a dog’s head, place it on a chicken’s body, and hatch little…Gods, I don’t know what you’d call them. But his primary goal is to essentially determine what sound the creature would make. Frankly, I don’t know if I’m more appalled at the clear lack of scientific logic or the colossal breach in the ethics.

If you’re already sickened at the sight of Pluto restrained against an X-ray machine as he listens to the doctor’s plan, the next part’s even worse. Pluto hanging from a hook by his tail, and the doctor uses scissors to cut his shadow in two!

Its cartoony physics, so it’s supposed to be funny, but the whole thing, to me, is just horrifying.

Charges: Animal cruelty, intense imagery

5. Plane Crazy (1928)

Yeah, it’s clearly not enough for me to defecate all over one of Mickey’s first cartoons, why not do the same to the real very first one? (Steamboat Willie was the first to premiere to the public. Plane Crazy was straight-up the first made at all.). Mickey clearly has no feelings toward animals as we’ve seen, and here, he twists a dachshund to become his prototype plane’s propeller engine and later rips off a turkey’s tail feathers to make a plane’s tail. Keep it up, Mick. I’m sure PETA has some choice words for you.

No, that’s not the end of Mickey’s sociopathic reign of terror. The plucky Mouse invites Minnie up in his plane, which she consents to. After a rough start, the plane levels out and the two are able to just relax and enjoy the solitude. Mickey starts to put the moves on her, but Minnie respectfully removes his arm and tells him no. He asks for a kiss, but Minnie indignantly rejects his advance. Mickey does not take this well.

Like a self-righteous frat boy, Mickey starts to drive the plane recklessly, doing all sorts of crazy stunts, even faking her falling out. Minnie is terrified, but Mickey? Sweet, endearing, wholesome Mickey?

He laughs at her! Not just laughs, but then asks for another kiss, which Minnie still refuses. Angry, Mickey forces her into a kiss! Minnie, thank gods, breaks free, slaps him, and decides she’d rather take chances as she dives out of the plane.

Now, in the old days, if animators wanted to highlight Minnie’s femininity, she would be drawn with two large, white circles on her chest to indicate some sort of top. Heck, she was usually drawn what could be construed as topless. I don’t get in a tizzy over that because even I know that’s overthinking it. However, when Minnie plummets to terra firma, she unfurls her underwear, and parachutes safely to the ground. This means, yes, she beat out Jessica Rabbit (supposedly) by 60 years. In its defense, I can at least say it’s not done to be sexual or titillating, but it’s still uncomfortable, nonetheless.

I shouldn’t have to remind my readers, much less the women, that Mickey’s actions are not uncommon in the real world. In the real world, men often feel they are owed affection, especially when they feel they’ve earned it, even if “earning” it means doing stunts and scaring their dates into submission. Thankfully, Minnie doesn’t take that guff, even from Mickey.

Sigh. Well, at least they didn’t crash into that church steeple. Don’t want the kiddies getting really bad ideas, now.

Charges: Misogyny, toxic masculinity, nudity, some animal cruelty

4. Teachers are People (1952)

I reviewed this cartoon when the Parkland school shooting in Florida was barely a week old, and I felt optimistic that something, anything would happen in terms of meaningful gun legislation. Oh, how naïve and foolish I was. And here I thought our children were more important than firearms. Guess not. Sigh.

If you want to know why this cartoon made this list, hit the link above. The gags that were treated as absurd in 1952 are no longer humorous now.

And no, past me. No lottery numbers for you. Not after last time.

Charges: Depictions of school violence, reference to sexual content, abuse against teachers

3. Californy ‘er Bust (1945)

How Disney treats Native Americans has always been…complicated. Walt Disney struggled to make a movie based on Hiawatha, but it never got farther than a 1937 Silly Symphony. There’s 1953’s Peter Pan, where the indians living in Neverland fall into the stereotypes we associate with the plains Indians, and their song is even called “What Makes the Red Man Red”. On the other hand, from 1955 to 1971, Disneyland had an Indian Village in what is now Critter Country, where it teetered between genuinely respectful yet still blatantly exploitative. Davy Crockett’s show and movies often centered how he fought the Indians, yet still helped broker peace between them and the white man. A Pirates of the Caribbean-style attraction called Western River Expedition was planned for the Magic Kingdom, which would have featured numerous sight gags, from a very effective rain dance ceremony to a drunken indian greeting a wooden cigar store statue. 1995’s Pocahontas strived to appease native Americans who would object to inaccuracy in their portrayal, yet still caught flak for the inaccurate portrayal of history, never mind exacerbating an obnoxious neoliberal mindset from white people wanting to culturally appropriate from them, in the same decade as Dances with Wolves (1990). Gargoyles established the main character Elisa Maza as being of Navajo descent on her father’s side, despite her last name being derived from the word “iron”…in Sioux. 2013’s The Lone Ranger was a train wreck, not least of which was the controversial casting of Johnny Depp as Tonto.

I guess what I’m saying is…well, with Native Americans, it’s like Disney tried, you know, when they felt they could, but otherwise still fell into the trappings of mid-twentieth century depictions. But then there’s Californy ‘er Bust, where an unnamed narrator with some truly terrible command of the English language (and geography) recounts an episode where a wagon train headed to “Californy” gets attacked by…okay, let’s not try to dignify this. They’re not Native Americans. They’re not even indians. They’re “injuns”: the lowest reduction of what white people thought indians were. The red skin, the one feather atop their heads, the whooping, everything.

When the train passes through New York, they get spotted by two scouts who send up a smoke signal that spell one “word”: “ugh”. This alarms another injun who writes this on a piece of paper (Okay, that’s kinda funny), and tosses it to a nearby camp. The narrator tells us this attracted every injun from across the country (Because, you know, they have that hive mind mentality). Were given some more puns, as among the representatives there are a Blackfoot (who has literal black feet), an ol’ patchy (Apache) chief, a Cleveland Indian, and Crazy Horse. Not the real Lakota war leader, mind you, but a Goofy in a horse collar blubbering his lips. What, no “Sitting Bull” who is literally a seated steer? No female Goof jabbing others with a finger, “Poking-hontas”? No “Soccer-gawea”? And yet they skipped the most obvious one: a Goofy plummeting out of nowhere, yelling that famous holler, and saying, “Yep, even ol’ Geronimo!” I mean, I’m not advocating that they further demean and mock real people with making fun of their non-Caucasian names, but if you do, either go hard or go home.

Chief Rain-in-The-Face (Sure, why not!?) reads the note in fluent, authentic Navajo that a wagon train is peacefully passing by and its in everyone’s vest interest to leave them alone LOLZ nah! He simply reads out loud, “Ugh”, which is all that’s needed to whip everyone into a frenzy. The rest of the cartoon is the injuns’ attack on the settlers, with tons of slapsticky goodness that we come to expect from Goofy cartoons, but the joke is squarely at the expense of the injuns. In fact, the narrator hardly appears at all, so the focus is squarely on the bloodthirsty injuns who attack the innocent settlers. There are some funny gags, to be sure, but at what cost?

On the Walt Disney Treasures: The Complete Goofy DVD I owned where I discovered this cartoon, film critic and Disney fan Leonard Maltin claims the depictions were basically parodies of the injuns portrayed in westerns of the era, calling them “caricatures of caricatures”. This excuse is as flimsy as they come, not unlike the classic “It was a different time”, as if it’s okay to condone racist attitudes or behavior in 2017, 1945, or 1776.

Charge: Racism toward Native Americans

2. Cannibal Capers (1930)

You know, say what you will about Warner Brother’s Censored Eleven: at least they owned up to it, admitted a mea culpa, and now no one cares. Say what you will about Song of the South: There’s some gorgeous animation, and we got a great song and a awesome ride at the parks out of it. Heck, most of the entries on this list so far have had historical, cultural, or even artistic significance. But Cannibal Capers is just completely devoid of anything redeeming.

The cartoon has barely anything resembling a plot. After some dancing, a tribesman with a shield is mistaken for a turtle, and thrown into a boiling pot. Then a lion comes in, tries to eat one of them, and gets scared off.

The tribesmen look nothing like humans, with their enormous lips being their dominant characteristic. They bounce around, babbling incoherently, and definitely don’t even look remotely human. In fact, it kind of dawned on me that gags that use body distortion to that extent back then were only used for anyone who weren’t skinny white people. One native dances and his grass skirt slips to his ankles, so he shoves his belly down and continues to dance that way. This kind of gag has often been done with animals and overweight people…but why not the “regular” people?

Let’s not kid ourselves: this cartoon is racist. Even if you’re able to detach the gags and the “plot” from the problematic elements, you have to come to the realization that the joke is on these silly-looking monkey-people acting like dopey puppets. The comedy does not stem from a place of understanding or personality. There is no discernment of their culture that could provide perspective as well as humor. And worst of all, they aren’t treated as characters. Think of the crows in Dumbo, Snow White’s dwarfs, the injuns in Peter Pan…we give these guys a pass because they’re entertaining. It’s the same reason why people rage against Pocahontas and Song of the South: when it bores us, the magic falls from our eyes and we see the issues for what they are. I doubt Cannibal Capers was the zeitgeist of comedy of 1930, but I doubt it slowed the momentum of the Silly Symphonies series.

Charge: Racism toward Africans/Black people

1. Mickey in Arabia (1932)

When Aladdin premiered in 1992, amid the highs of critical and financial success and the lows of Robin Williams’ drama and the death of composer Howard Ashman, Disney was hit with another curveball. The American-Arab Anti-Discrimination League angrily protested the lyrics in the song “Arabian Nights”, plus various other aspects the average white American filmgoer overlooked. To them, Disney was perpetrating stereotypes that Middle Easterners were hostile and ugly, particularly the villains and background characters, whereas Aladdin and Jasmine had traditionally Caucasian features and American accents. I can’t say they’re wrong: Jafar, Rasoul, Gazeem, Prince Achmed, the apple vendor… these people paint the city of Agrabah as damn near inhospitable. Or should I say, “It’s barbaric, but hey, it’s home”?

The funny thing is, if Aladdin were released in 1932, it would have been lauded as a fantastically progressive and empowering look at a peninsula long seen (By Americans) as a sandy wasteland with pyramids, camels, fezzes, curly-toed shoes, those curvy swords, and people with towels wrapped around their heads. So given the limitations Americans had of knowledge beyond its borders, how did they caricature such a exotic and fantastic region?

Oh…yeesh…

That’s like…really racist.

You get the impression the animators never saw a man of middle eastern descent and just kinda guessed by making stick figures with massive lips like black people, and added curled-toed feet, bulbous diapers, and fezzes. The natives are no more than props for various sight gags. Like the woman carrying several pots on her head full of crying children. Or the harem girl who raises her veil to reveal her homely face without Mickey’s knowing. Or the two children Mickey holds like trophies, as if he were one of those obnoxious neoliberals who think Instagram selfies in a third world country is “being woke” Or most confusing of all, the bulb-nosed juggler, who seems to be facing a corner, while bouncing two balls on his butt cheeks. What confuses me is the context of the gag: the fact he halts all motion to pose for Minnie’s photo. Not the fact he is doing something so nonsensical.

Once the plot gets started with Pete the sheik kidnapping Minnie (It’s Pete. What’re you gonna do?), it becomes a standard “Mickey to the Rescue”template we’re pretty used to, just with Arabian dressing. The only other thing worth complaining about is that the Mouses’ camel is CLEARLY A TWO-HUMPED BACTRIAN, NOT A ONE-HUMPED DROMEDARY THAT IS ACTUALLY INDIGENOUS – Nah, I’m just kidding. But it does find a barrel of beer, which it licks its lips and chugs the alcohol. When Pete dashes out of town with Minnie in his grasp, Mickey mounts his Mesopotamian mammal and mushes after the maniacal marauder. Only problem is the camel is completely and utterly sloshed. I’m guessing no one at the studio was aware that alcohol is strongly discouraged by the Quran.

I just can’t get over how none of these supposed natives are made to look like real people of the appropriate heritage. There’s only one person who looks even remotely accurate, and it’s just a sleeping old man with his beard being used as a jump rope. But to make it even more bizarre, there’s a girl in the same shot with stereotypically thick, coarse hair reminiscent of African-Americans!

This short is just so ugly to look at. I very much doubt any of this was done with malice, but that doesn’t excuse it for what it is: lazy and ignorant. No, it doesn’t get a pass because animation quality was limited in 1932: they could have the locals be animals like Mickey, Minnie, and Pete. No, it doesn’t get a pass because their knowledge of the region was limited: that’s what libraries are for. And no, it doesn’t get a pass for hinging most of the punchlines at the bizarre way they live differently than Americans: Mickey had nearly four years and 42 cartoons’ worth of experiences to create quality comedy.

Charges: Racism toward Middle Easterners, alcohol consumption

*****************************

So there ya go. Ten cartoons that are actually, genuinely uncomfortable once you give them a second thought. Are they cartoons we should get up in arms about? Or demand they be banned?

Not at all.

Keep these cartoons on YouTube, physical media, and streaming. Keep them available to those who seek them out. Let us react however we see fit, be it enjoyment or apathy or outrage. They shouldn’t be ignored, because they are snapshots of a moment in time. Some have real artistic or cultural merit. They can be used as a way to gauge how far we’ve come, yet still have yet to go.

If my own reactions to them seem conflicting, it’s only because they are. I watch them nowadays ironically, laughing at just how uncomfortable they make me. I feign outrage (even though I’m aware on the internet, that’s rarely a smart move), but it’s all in good fun. After all, I’m not just a liberal, I’m a liberal whose favorite Disney movie of all time is Song of the South.

It’s complicated.

Author: TAP-G

Writer, former podcaster, entertainment enthusiast. Movies and media have the power to shape our world and vice versa. Let’s take a deeper look at them.

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