Like Ursula from The Little Mermaid, the tentacles of the Walt Disney Company have a nearly inescapable reach. Disney owns 56 resorts, 12 theme parks, four cruise ships and a private island. They are responsible for 190,000 employees and $203 billion in assets. Disney World alone is the same square miles as San Francisco. Disney owns ABC, ESPN, FX, the History Channel, National Geographic, Hulu, Pixar, Marvel Studios, Lucasfilm, Viacom CBS, A&E, Touchstone, Searchlight Pictures, 21st Century Fox and many, many more.
Up until the last few months, parents had almost no complaints about Disney (except to bemoan the long theme park lines). That’s because, for the most part, the movies and television shows Disney produced were the last remaining vestiges of “family friendly” entertainment one could find. In a world where Netflix can stream Cuties with impunity, Disney content was often a welcomed breath of fresh air.
But that changed on March 29 after a Disney corporate Zoom call went viral. On the call, Karey Burke, Disney’s corporate president of general entertainment content, proudly shared that she is a mother of one transgender child and one pansexual child (a disturbing fact in and of itself). She then announced that she wants to have “many, many, many LGBTQIA characters” in Disney movies and shows going forward. In fact, she said, she wants a minimum of 50% of Disney characters to be LGBTQIA or racial minorities by the end of this year. While more racial minorities is to be applauded, more LGBTQIA characters aimed specifically at children is not. It is the very definition of “grooming.”
Disney further targeted kids with its LGBTQ agenda by unveiling the 2022 “Disney Pride Collection” of children’s clothing and accessories featuring “non-gender specific” items. (Marvel, Star Wars and Pixar all offer their own rainbow and pride theme retail as well.)
Disney theme parks announced they would no longer be using gendered language such as “boys and girls” or “ladies and gentlemen.” They also promised to incorporate more “mature material” into their most popular franchises (e.g., the lesbian kiss that Toy Story prequel Lightyear will feature this summer).
The television channel Disney+ promoted a drag queen special for young children, encouraging kids from kindergarten on up to join a group called GLSEN. GLSEN develops educational resources and classroom materials to promote LGBTQ in schools. They host conferences with breakout sessions like: “What They Didn’t Tell You About Queer Sex and Sexuality in Health Class: Workshop for Youth Only Ages 14-21.”
Parents who’ve always trusted Disney to babysit their children for hours each week have become understandably concerned as the word “grooming” popped up with each move Disney made. If this new push for LGBTQ represented the “core values” of Disney, how had they managed to keep them hidden from the public until now?
The truth is that Disney’s allegiance to all things “hidden” is nothing new for those who’ve been paying attention. Hundreds of millions of children around the globe have fallen under the spell of the Magic Kingdom over the years. Yet only now are many parents finally awake enough to ask, “Who is the ruler of this Magic Kingdom and what kind of magic have they been peddling?”
Disney would like parents to believe that harmless “childlike wonder” is the only sort of magic their brand has been selling. But it’s simply not true. Disney movies and programs have always been about teaching children the magic arts which are the basis of all esoterism and secret societies. In other words, for almost a century now, Disney has been training generations of children in the occult.
The definition of magic is: “the art that by use of spells supposedly invokes supernatural powers to influence events.” Magic is explicitly forbidden in scripture, yet the vast majority of Christian parents happily welcomed the Magic Kingdom and its accompanying arts into the lives of their children. Regarding the early church members, Acts 19:19 says, “And a number of those who had practiced magic arts brought their books together and burned them in the sight of all.”
One of Disney’s first films, released in 1940, is The Sorcerer’s Apprenticestaring Mickey Mouse as the apprentice of a sorcerer named Yen Sid, (Disney spelled backwards). Mickey is left to look after the sorcerer’s workshop while he’s away and tries using “magic arts” to clean the workshop only to discover he needs more practice in developing his supernatural powers.
The Sorcerer’s Apprentice was based on a 1797 poem by Johann Wolfgang von Goethe. The poem was distributed to all 700 Disney employees before the film was made. A line in the poem says: “The spirits that I summoned I now cannot rid myself of again.” The spirits Disney summoned from its very first films were spirits that control the company to this day.
In Fantasia, Mickey dances with demonic creatures and evil spirits, including the Greek gods Zeus, Vulcan and Bacchus (god of wine). Over 1000 artists and technicians worked on Fantasia which featured 500 animated characters and haunting music and has long been the subject of theories involving government sponsored mind control projects.
Early Disney movies did not even attempt to hide their occult leanings. Movies like Escape to Witch Mountain, Bedknobs and Broomsticks and TheSword in the Stone come to mind. As the years wore on, the Disney storylines became more enthralling, the characters more endearing and the animation more enticing, but the occult themes remained.
From Snow White to Encanto, virtually every Disney tale crafted to this day involves witches, wizards, warlocks, genies, fairies, mediums, demigods and spirits. There are constant references to alchemy, spell casting, divination, healing arts, astral projection, fortune telling, animism, necromancy and blood ritual. Micah 5:12 says, “I will cut off sorceries from your hand, and you will have fortune tellers no more.” Exodus 22:18 says, “You shall not allow a sorceress to live.” Leviticus 19:31 says, “Regard not them that have familiar spirits, neither seek after wizards to be defiled by them. I am the Lord your God.”
The magic arts Disney seeks to expose to children have been around since the days of ancient Egypt. Exodus 7:11 says, “Then Pharaoh also called for the wise men and the sorcerers, and they also, the magicians of Egypt, did the same with their secret arts.”
Ariel sells her soul to a sea witch. Elsa wakes up the spirits of an enchanted forest. Mulan talks to the dead. Aladdin’s sidekick is a shape-shifting genie. (The word “genie” comes from the Arabic word “Jinn” which means a class of spirits, lower than angels, capable of appearing in human and animal forms to influence humankind.)
Mulan’s guardian is a dragon who can enter a temple and summon the dead at will. At the end of the movie, Mulan gushes to the dragon, “You’re the best friend I’ve ever had!” Revelation 12:9 says, “The great dragon was cast out, that old serpent, called the Devil and Satan which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.”
Pocahontas conjures a 200-year-old goddess inside a willow tree who tells her, “All around you are spirits, child. They live in the earth, water and sky. If you listen, they will guide you.” The Bible is clear that we are not to seek any spirit to guide us except for the Holy Spirit.
Peter Pan is an obvious nod to the Greek god Pan (the flute-playing friend of the nymphs). Moana’s sidekick is a “demigod” named Maui. (Demigod means a part-human, part-divine offspring of a deity and a human.) Encanto is a masterclass in magic and divination. And Alice in Wonderland is so chock full of occult symbolism, a separate article could be written on it. Even Pinocchiois not a “real boy” because he has yet to go through his occult initiation process—which will take place after he visits “Pleasure Island.”
Disney’s use of satanic imagery this this is widely known to all who’ve studied the dark arts. It is primarily Christians who seem to be ignorant of it. Belle falls in love with a Baphomet looking beast who momentarily transforms himself in an “angel of light” before settling into his role as prince. Maleficent sports the same Baphomet horns along with fallen angel wings. The self-proclaimed “Mistress of all evil,” Maleficent ends up “saving the world” and uniting humanity with the spirit realm…which brings us to another Disney trademark. Disney loves to retell the story of the gospel. But in Disney stories it is not Jesus Christ who comes to save mankind. It is Lucifer who’s the savior.
The Fall: Retold
Disney movies typically begin in a world where everyone is playing by the rules, and there is a supreme order (heaven). It is then revealed that the protagonist is only “going along to get along,” and she is soon tempted to break the rules. She seizes the opportunity (eats the apple), and the fallout is vast.
Initially, everyone is troubled by the new state of disorder the protagonist causes by deviating from the rules. However, by the end of the movie, everyone has come to accept that the protagonist’s decision to break the law and rebel was actually the “right thing” to do from the start. In fact, it is usually depicted as the event that opened a path to enlightenment for everyone else.
In Wall-E, the “dirty and contaminated” robot protagonist arrives at a perfect spaceship in the sky. The spaceship is beautiful and clean with an ideal year-round temperature of 72 degrees. It is not by accident that this floating paradise is named Axiom. (Axiom means “a universally accepted rule or principle.”)
When Wall-E arrives on the Axiom, he is deemed “unworthy” to enter, due to his contaminated state. He is promptly locked up with a group of other robots that also have not met the Axiom standards of perfection. Eventually, Wall-E organizes a rebellion and releases his fellow robot prisoners with a plan to take over the ship. Together, they encourage all the humans on board the ship to join them in staging a coup d’état to overthrow the Axiom’s captain.
Disney subconsciously reiterates to children over and over that someone who’s willing to break the rules and then openly challenge the creator of those rules is the ultimate hero to be emulated. The rule-breaker holds the keys to everyone’s freedom.
Peter Pan asks, “What if you could escape to a faraway world without parents…without any rules?” Mulan’s friend remarks, “Your duty was to stay at home, but your heart told you to break the rules.” Aladdin promises Jasmine that in the “whole new world” he’ll open up for her, there will be “no one to tell us no or where to go.” Cinderella has the epiphany, “I’ve been trying to obey someone else’s rules about who I should be!” Mulan’s true love exclaims, “I don’t care what the rules say!” And Elsa from Frozen sings, “No right, no wrong, no rules for me. I’m free!”
Deuteronomy 6:17 says, “Ye shall diligently keep the commandments of the Lord your God and his testimonies and his statutes which he hath commanded thee.” Ecclesiastes 12:13 says, “Fear God and keep his commandments; for this is the whole duty of man.”
Disney teaches that like Maleficent, Lucifer may, at first glance, appear to be a villain with his inherent rebel tendencies, but the truth (they say) is that he has come to enlighten humanity with secret knowledge from the spirit realm. This is how he alone will free mankind.
At the end of most Disney movies, the chaos created by the rule-breaking protagonist is effortlessly mergedinto the old system of order, thus creating a “new normal.” This synthesis of chaos and order is the basis of all secret societies. (The Latin phrase “Order out of chaos” is a well-known Freemason motto.)
Timothy 4:1 says, “The Spirit clearly says that in later times some will abandon the faith and follow deceiving spirits and things taught by demons.” Matthew 7:15 says, “Beware of false prophets who come to you in sheep’s clothing, but inwardly are ravenous wolves.”
Disney has appeared harmless as a sheep at times, but its hidden messages resemble the wolf from Little Red Riding Hood. When the disguise of the red cloak falls, the truth is made known. Disney movies have been a primary vehicle through which the Luciferian gospel has been presented in a beautifully wrapped package to impressionable young minds for almost 100 years. More often than not, Disney’s stories provide us with an overview of Satan’s plan for man—including his desire for us to join him in his open rebellion to usurp the God of heaven.
Part 2…COMING SOON
*Watch the Little Light Studio documentary The Magic Kingdom for visual examples of everything discussed in this article.
Jennifer is a guest writer for Little Light Studios. You can subscribe to her blog on Substack here.