Published on August 16, 2024, 12:28 am

One of the prevailing characteristics of the phenomenon known as ‘wokeness’ is its inherent inconsistency. As social commentator Teal Swan astutely puts it, wokeness has evolved into “a radical political and social ideology that is flirting with authoritarianism and that is wearing a mask of virtue.” This seemingly virtuous facade often gives way, revealing how fluid and fragile this supposed virtue can be among those who identify as woke. What may appear virtuous in one context could be perceived as malevolent in another, depending solely on who is exhibiting the virtue, or perhaps even what food they had consumed for breakfast. It’s safe to say that a significant number of self-proclaimed woke individuals, particularly on the left side of politics, struggle to distinguish between virtue and vice.

An illuminating example of this dilemma surfaces with Disney Company’s most recent endeavor into live-action remakes – their classic animated film “Snow White and the Seven Dwarfs.” The original film from 1937, a pioneer in the realm of full-length animation, was an unprecedented success at box offices and remains unparalleled in earnings now adjusted for inflation. Yet, Disney is seeking to recreate this success by producing a remake.

The choice to craft another version of Disney’s Snow White feels unnecessary; it can be compared to trying to remake “Star Wars,” which could eventually occur given Disney’s current underwhelming stock performance. It has been previously highlighted that production costs have already reached an astronomical $200 million. Initially slated for release in 2024, delays mean we might not see it until March 2025.

While Disney’s business strategy can be questioned separately, the approach taken towards recreating “Snow White” throws light on some regressive practices under the guise of progressiveness. Instead of casting real dwarfs to reprise these iconic roles, they opted for computer-generated imagery (CGI). This decision drew criticism from esteemed actor Peter Dinklage, himself a dwarf, who underlined Disney’s contradictory stance on ‘wokeness.’ The company justified its decision not to hire dwarfs by suggesting it would otherwise perpetuate stereotypes. However, real jobs for individuals with dwarfism were overlooked in the process. Subsequently, the characters formerly known as dwarfs have been remodeled into magical creatures in the forthcoming production.

Adding fuel to the controversy is the casting of Jewish actress Gal Gadot as the evil queen, resulting in backlash from pro-Hamas groups. Her co-star Rachel Zegler (playing Snow White), chose to post a “Free Palestine” flag on her social media, leading to further complications. While Disney cannot control these volatile reactions on social platforms, they are responsible for their lack of support for Gadot amidst such discriminatory responses.

In summary, corporations like Disney that aim to espouse woke ideologies often exhibit behaviors that expose their fundamental inconsistencies. As they tread this challenging path between finding real news and trusted news through a Christian worldview or any other filter, it becomes increasingly clear how complex unpacking wokeness can be in our society today.