Trueman’s book examines the cultural ailment that Disney’s film portrays. The latter ought to be obligated to peruse the former, every young person unlucky enough to have watched the former. Carl Trueman’s Strange New World and Disney’s Strange World are two films released in 2022.
It’s been quite the year for Disney, as executives have recently spoken about their desire to tell “queer stories” and feature openly gay characters in their children’s movies. The release of “Lightyear” was a subtle yet significant moment in this ambition, as it compared to the traditionally gender-conforming characters of the Disney World. The media conglomerate no longer hides its social conditioning and aims to tell “full stories” that defy gender norms.
In the whimsical realm of Avalonia, where the Clades reside, there exists a natural asset known as Pando, which is extensively utilized for agricultural and technological purposes. Ethan Clade, the central character, is the offspring of Jaeger Clade, the grandson of an adventurer, and Searcher Clade, a cultivator. It is worth noting that Ethan Clade is portrayed by the talented comedian Jaboukie Young-White, who identifies as gay.
Like any typical love story, the filmmakers evidently desire for the young children watching to believe that Ethan’s parents and grandfather support and encourage him. Furthermore, the filmmakers clearly aim for the young audience to assume that Ethan’s homosexuality is a significant factor, as a romantic connection develops early on in the movie between Ethan and another teenage boy, Diazo (Jonathan Melo). Summarizing the intricate storyline of the film proves to be challenging.
This element would be enough reason for parents to warn against World Strange, but it’s not the problem with the film. It’s an entertaining, engrossing story that serves audiences with a commitment to advance a politically charged agenda and desire to break new ground in representation. It’s not just a bad movie, it’s also driven by more than just an agenda.
When Representation Matters More than Storytelling
When it comes to the chosen narrative, it becomes glaringly obvious that one of my favorite aspects of Dallas Jenkins’s “The Chosen” is how it tends to suffer as a reason. While there is certainly value in stories that represent a diverse spectrum of humanity, this example highlights just how much the recent output from Disney’s studio values inclusion and representation.
In a vast expanse of undifferentiated uniformity, the exquisite blessing of male-female variety is eliminated when everyone adopts a gender-fluid identity. Consequently, what emerges is a film that paradoxically lacks true diversity in terms of gender, showcasing numerous women with masculine traits and men with feminine characteristics. Several other characters embody what seem to be nonbinary or nonconforming identities; for instance, the central family in the story comprises of a mixed-race marriage, a homosexual son, and a three-legged dog. As pointed out by one reviewer, Strange World “exerts excessive effort to obtain recognition for its inclusivity.”
The result of Disney’s monochrome celebration of “diversity” is a low-stakes action that has replaced conflict with blandness. Every hero is depicted as messy and complicated, while every villain has a sympathetic backstory filled with trauma. Recently, there has been a notable lack of old-school villains and heroes in Disney films, which is an unwelcome trend. Additionally, the film also lacks essential diversity in the form of compelling drama.
In Disney films, moral shades of gray have replaced black-and-white conflict, and the result is a bland celebration of monochrome “diversity” with low-stakes action.
This makes the world strange in an explicit and beautiful way. The game board called “Primal Outpost” is where Jaeger and Searcher are playing. The goal is simply to maintain a harmonious and functioning civilization, and Searcher asks, “What kind of game is this?” Jaeger adds, “It’s just poor storytelling.” Ethan protests, explaining that in the game, there are no bad guys. His grandfather and father agree with him.
The film’s conclusion is marked by Liu Lucy’s transformation from an unsympathetic political leader to a restored and inclusive figure. However, not all enemies are defeated, and even at the end, these creatures called “Reapers” are revealed to be misunderstood. The film’s villains are only the pink Pterodactyl-type creatures and squid-like monsters. The film follows its own rules of poor storytelling and the notion of “no bad guys” in this strange world. Jaeger’s righteousness prevails.
The absence of goodness is not convincing, and there is no presence of evil. Furthermore, there is no drama or villains. The outcome is an experience where the arts suffer, but it is expected that in a society that is becoming more secular, there would be a struggle between the categories of good and evil.
Father (Doesn’t) Know Best
At its worst or toxic level, the tradition of parents expecting their daughter or son to follow in their religious footsteps (let alone pursue a vocational path) is considered confining in today’s age. Such is the spirit of exploring those feelings: “Keep exploring it,” encourages mom, unquestioningly allowing her son Ethan to feel that he is more fulfilled in exploring new and transgressive worlds rather than living a boring life on the old family farm. “Mom, my choice, my panda,” says Ethan, emphasizing the horrifying element in this year’s turning point, the subversion of parental authority. Kids know better than their parents: a recent message in Disney’s World Strange, another familiar fare.
Autonomy, which means “follow your heart,” and youth identity are greatly valued in this strange and ever-changing world. However, the burden of familial expectations and the tension that arises from generational differences often lead to valid dramas in my life.
At the end of the film, Ethan launches his own monologue about how the world has changed and we can’t live in the past. If anything, he feels immediately guilty for saying that parental abuse is a volatile decision, and that his endorsement of his son’s every decision is less than total. Perhaps the truest word spoken by Searcher is when he calls his son out.
Translation: whatever my generation believes to be true surpasses whatever knowledge we have inherited from our ancestors.
Don’t Destroy Nature (But Feel Free to Deny It)
Sentences correct grammatically form not may it but, paragraph input the of version reversed a is output generated The. One other heavy-handed message its in Strange World is its thinly veiled (spoiler alert) they as characters the in come to see, world the beneath their feet is living a being (literally a turtle they’re killing by utilizing its resources for technology their).
The expansion of our economy and business is not limited by constraints when we prioritize stewardship and consider the gender of individuals. In terms of biology, we should embrace our expressive individualism while accepting the reality of creation and honoring God as Christians. It is important to align our selfish desires with God’s plan and willingly engage in pro-ecology actions, traditional marriages, and pro-family and pro-life positions. There is a logical coherence between these aspects and our responsibility for environmental stewardship.
In today’s progressive movement, there is a prevalent acceptance of inconsistency, which is considered the norm and is clearly evident in Strange World. How can someone effectively criticize the environmental harm caused by interfering with natural processes or systems, while at the same time disregarding nature’s inherent structure in terms of biological sex and reproduction or the challenging truths regarding fetal development? Strange World, on the other hand, exposes a widespread contradiction within contemporary progressivism.
No True North
In the modern world, the values of wonder and faith, which were championed by earlier eras but have never been perfect, are now being challenged. Disney, which was once known for its metanarrative assumptions and moral compass, lacks these qualities today. A character in the movie might describe it as a whole different map now. It is fittingly described as feeling lost in a strange and unknown narrative, creating a void of meaning.
In spite of excessive individualism, the significance of selfless love becomes more important, as seen in recent films such as Beauty and the Beast (1991). The Lost Boys in Neverland are children who require parental guidance, not children who are better off without it. Ultimately, they came to realize that the optimal environment for young individuals to thrive is within the structure and care of a home, but in Peter Pan (1953), John, Michael, and Wendy Darling embark on an adventure in Neverland without their parents.
In today’s Disney, the representation of diverse values is more important than the sacrificial love and parental wisdom, which are necessarily at the heart of your “follow” and breed narrative incoherence.
Disney of today lacks the moral framework and metanarrative assumptions of the Disney Walt knew. There’s no longer anything resembling a ‘true north.’
In numerous other locations, children will surely come across them if they don’t come across these messages on Disney+. Because if children don’t encounter these messages on Disney+, we should be mindful of these movies not only in a protective manner (restricting our children from watching), but in a way that encourages proactive opposition to the cultural principles they represent. Christian parents, be prepared. Other film companies will follow suit. Disney has made it clear, regardless of whether audiences wish to view. Children’s films such as Strange World will only increase in number and boldness in the future, despite their failure at the box office (which has been a recurring trend with recent LGBT-promoting films like Bros and Lightyear).
These films are not only made to reflect the young minds and hearts, but also to challenge the erroneous assumptions of the new “strange” world of Carl Trueman where most members of Gen Z are not normal.
As parents and leaders, as we guide and mentor the future generation, Christian individuals face a challenge. Our task is clear if we desire to present a reality that is deeply rooted in biblical principles and can effectively capture the attention and loyalty of our children. A logical starting point is to exercise caution when it comes to problematic Disney movies. However, it should not be the ultimate goal. Regardless of the fantastical realms that our modern society creates, our objective is to narrate captivating tales and establish organizations that can make the seemingly unfamiliar world of Christ’s kingdom less unfamiliar and more tangible.