Looking Backward (Part Two)

Why is socialism spreading in our country? We conclude our story about America's greatest storyteller and anti-communist culture warrior...Walt Disney. Along the way we reveal the book that sent Marxists on the long march through our institutions, and what we need to do to reverse the trend. 

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Episode Transcript

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Speaker 1 (00:45):
Join the Fanbam and help us save America one story
at a time. Previously on Red Pilled America, Walt Disney
was one of the most prominent anti communists of his time,
and I.

Speaker 3 (01:01):
Feel that they really ought to be smoked out and
shown up for what they are.

Speaker 2 (01:05):
So Walt was now shoeless.

Speaker 3 (01:07):
Well, I came to Hollywood and arrived here in August
nineteen twenty three with forty dollars in my pocket.

Speaker 2 (01:13):
Walt and his older brother Boy formed the Disney brother
Studio the next day.

Speaker 1 (01:18):
Walt wanted to create America's first feature length cartoon, Snow
White and the Seven Dwarfs.

Speaker 4 (01:23):
So I had to have a new character.

Speaker 3 (01:25):
I'd always well, I'd fool around a lot with little mice,
and they were always cute characters.

Speaker 1 (01:30):
Trouble was brewing. A political force had been quietly infiltrating Hollywood.
How is socialism spreading? I'm Patrick Carelchi.

Speaker 2 (01:41):
And I'm Adrianna Cortez.

Speaker 1 (01:43):
And this is Red Pilled America, a storytelling show.

Speaker 2 (01:48):
This is not another talk show covering the day's news.
We are all about telling stories.

Speaker 1 (01:53):
Stories. Hollywood doesn't want you to hear stories.

Speaker 2 (01:56):
The media marks stories about everyday Americans. Is the globalist ignore?

Speaker 1 (02:02):
You could think of Red Pilled America as audio documentaries,
and we promised only one thing, the truth. Welcome to
Red Pilled America. This is part two of our two

(02:26):
part series about Walt Disney. We're examining his life to
find the answer to the question how is socialism Spreading?
If you haven't heard part one, here's a quick rundown
of what you missed. So in part one, we learned
that Walt Disney's family moved to a farm in Marceline, Missouri,
when Walt was four. He thought the small town was
a paradise and it deeply impacted him. In nineteen twenty two,

(02:48):
at the age of twenty, Walt opened his first animation studio,
but his company quickly unraveled after someone stiffed him on
a job. Things got so bad that at one point
Walt had no shoes and resorted to eating discarded food.
He eventually moved to Hollywood and landed a big contract
producing a rabbit animation, but after the first year, his

(03:08):
New York distributor hired away much of his staff to
produce the cartoon without him. Walt needed a new character,
so on a long train ride, he came up with
a perpetually optimistic little critter called Mickey Mouse. It became
a national phenomenon. He parlayed it success into creating Hollywood's
first feature length animation cartoon, Snow White and the Seven Dwarfs.

(03:30):
It broke box office records. The boy from Missouri had
made it, and he made it big. His small studio
in Los Angeles had a family vibe but was bursting
at the seams. So in late nineteen thirty nine, Walt
moved to a sprawling studio in Burbank, California, and doubled
his staff to roughly twelve hundred employees. Things were looking

(03:54):
good for the master storyteller. But what Walt couldn't have
known at the time was that trouble was brewing, the
kind of trouble that was quietly sweeping through every cultural
institution in America.

Speaker 2 (04:09):
The first real red flag came a few months before
moving to a studio in Burbank.

Speaker 5 (04:15):
By the Autoabight you released The Gains of the Gloves?
Does he Bicy's a been?

Speaker 6 (04:20):
Do's he gaut dom?

Speaker 2 (04:22):
On September one, nineteen thirty nine, Adolf Hitler invaded Poland.
The development cut the market for Waltz movies by ten percent.
It wasn't catastrophic, but with ongoing work on his two
big projects, Pinocchio and Fantasia, as well as the money
he sunk into his new Burbank studio, Walt was now
in debt to the tune of two point five million dollars.

(04:43):
Disney needed Pinocchio to bring in some much needed cash.
He released the animated film in February nineteen forty, but
just a few months later, the conflict in Europe escalated.

Speaker 7 (04:58):
Initial move to crack France's first defense line is concentrated artillery.

Speaker 6 (05:02):
By by a railroad.

Speaker 8 (05:03):
Johnny's unis supposedly Impregnavo bas you know.

Speaker 2 (05:07):
After Hitler's blitzkreag the foreign film market completely vanished. Pinocchio
would not be the studio savior. Walt and his brother
Roy came up with a new strategy. They took the
company public. It bought them some time, so Walt turned
to the next feature film in his pipeline to save
the company, Fantasia. Fantasia was originally meant to be a

(05:28):
short cartoon, but the cost of production quickly outweighed what
a short film could recoup, so Walt decided to turn
it into a feature length movie heavy on music. He'd
later reflect on the cost of adding a major composer
to Fantasia.

Speaker 9 (05:42):
And I happened to have dinner one night with Stokowski.
Stokowski said, oh, I would love to conduct that for you, Phili. Well,
that led to not only doing this one little short subject,
but it got us involved where I did all the
Fantasia and before I knew it I ended up spending
four hundred and some one thousand dollars getting music with Spakovski.

Speaker 2 (06:02):
When the studio really East Fantasia in November nineteen forty,
it too lost money. Walt was facing serious financial headwinds again,
and things were about to get even worse. You see,
just a few years earlier, labor unions and industry leaders
were in a conflict that often turned violent. So Congress
got involved too. In their words, you see work some of.

Speaker 10 (06:25):
The sempire and the line who's abami house side?

Speaker 11 (06:30):
Under the principel and collective target.

Speaker 2 (06:32):
Congress passed the National Labor Relations Act of nineteen thirty five.
It guaranteed the right of private sector employees to organize
into trade unions as well as take collective actions like
strikes and collective bargaining for wages. The cartoon industry was
a big target for labor union organizers for a key
reason its massive workforce. Traditional filmmaking had major expenditures like

(06:56):
elaborate sets, wardrobe cost, heavy equipment, location fees, travel and
the like. Animation had a small action of these costs,
but it was incredibly labor intensive to produce Snow White
and the Seven dwarfs. Over two million sketches were drafted.
The final film included two hundred and fifty thousand drawings
and animation studios needed a massive workforce to pull this off,

(07:18):
and this staff naturally formed a class system. About a
dozen head animators were near the top of the pyramid,
just under Walt Disney himself. These had animators set up
scenes for dozens of up and coming young draftsmen to illustrate.
Under these draftsmen were hundreds of assistants that penciled less
difficult drawings. Eventually these images went to the incompainte department in.

Speaker 5 (07:40):
A comfortable building of their own, well lighted and air conditioned.
Throughout one hundred and twenty girls take the animator's pencil
drawings and trace them in ink on sheets of celluloid,
following exactly every line of the originals.

Speaker 2 (08:03):
Each of these jobs was essential, but outside of the
head animators and their team of assistants, most of the
work could be taught to any one on the street
with working hands. When production of Snow White kicked off
in nineteen thirty four, the Great Depression was still visible
in the rear view mirror, but as nineteen forty one approached,
the mood within the new, sprawling Burbank studio began to shift,

(08:23):
and much of the turmoil was being whipped up by
labor unions looking to exploit the natural class system of
the animation studio. There were earlier attempts at unionizing Walt's staff, however,
each fell short when Walt's longtime artists voted them down.
But now with the staff nearly doubled, the Burbank studio
had some new employees lurking around that weren't as enamored

(08:44):
with their boss. A few were susceptible to the agitation
of a union man named Herbert Surrell. Herbert was the
president of the newly formed screen cartoonist. Skilled an X
boxer with a face to match, Herbert was hell bent
on organizing Walt's animation staff. He rallied a few new
employees along the politically active senior artist named Art Babbitt.

(09:06):
When Walt met Art, he didn't want to hire him.
He shouldn't want. With his gut, labor activist Herbert Cerel
promised the younger Disney cartoonists better wages if they'd unionize
under his banner. His tactic was working and corralling some discontents.

(09:26):
They brought their discussions into the lunchroom and onto the
Disney baseball field. As nineteen forty one arrived, this group
started to take form. In early January, Herbert held regular
meetings at the Hollywood Roosevelt Hotel. A few Disney loyalists
caught wind of the meetings and were worried. They wanted
nothing to do with Herbert Soerell, so they approached their
boss to tell him. Walt later recalled this moment.

Speaker 3 (09:49):
My artists came to me and told me that mister
Sirel Herbert Serell was trying to take him over. And
I explained to him that it was none of my concern,
that I'd been the caution to not even talk with
any of my boys on labor. And they said it
wasn't a matter of labor, that it was just a
matter of them not wanting to go with Sorel. And

(10:12):
they had heard that I was going to sign with Sorel,
and they said that they wanted an election to prove
that Sorel didn't have the majority, and I said I
had a right to demand an election.

Speaker 2 (10:26):
Sorel met with Walt and his brother Roy later in
the month. Walt had some conditions. He wanted met before
working with the union organizer.

Speaker 3 (10:33):
And I told mister Crell that there's only one way
for me to go, and that was an election, and
that's what the law had set up. The National Labor
Board was for that purpose. And he laughed at me,
and he said that he used the Labor Board as
it suited his purposes. And he said he would strike
and that was his weapon. He said, I have all
the tools that trade sharpened, that I couldn't stand the

(10:53):
ridicule or the smear of a strike. And I told
him was a matter of principle with me that I
couldn't go on working with my boys, feeling I had
sold them down the river to him on his say soul.
And he laughed at me and told me that I
was naive, I was foolish. He said, you can't stand
this strike, that I'll smear you and I'll make a
dust ball out of your place if I choose.

Speaker 2 (11:15):
To The meeting turned heated.

Speaker 3 (11:17):
Well, I didn't pull my punches on how I felt,
and he evidently heard that I had called them all
a bunch of communists, and I believe they are. And
at a meeting. He leaned over and he said, you
think I'm a communist, don't you? And I told him
that all I knew was what i'd heard and what
I had seen, And he laughed and said, well, I
used their money to finance my strike of nineteen thirty seven.

Speaker 2 (11:40):
Herbert Currell was in fact connected to the Soviet Communist Party,
a party whose goal was to overthrow the American government.
And how did this union organizer plan on doing this? Well,
many of the communist infested labor unions in America were
following a blueprint laid out by a utopian novel published
a little over fifty years earlier, an influenced book that

(12:03):
provided a roadmap of how to transform America into a
socialist nation.

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the difference. Welcome back to Red Pilled America. So before

(13:18):
the break, we learned that many of America's communist infested
trade unions were focused on transforming America into a socialist nation,
and they were using the process spelled out in an
influential book. In eighteen eighty eight, Edward Bellamy, a Massachusetts
based writer, published a novel entitled Looking Backward two thousand
to eighteen eighty seven. The book tells the fictional story

(13:41):
of how America would become a socialist nation by the
year two thousand. The novel became massively influential because the
author at Bellamy inadvertently described how Marxist could take over
America by embarking on the Long March through its cultural institutions.
The story that Looking Backward tells is really intriguing. The

(14:03):
book's main character, Julian West, is an insomniac who is
put into a deep hypnotic sleep in his hidden basement.
He can only be awakened by his assistant, but as
he is sleeping, his house burns down, killing his assistant
and leaving Julian asleep sealed in his underground hideaway. The
house is eventually demolished and another is built on top

(14:23):
of it. Julian remained in suspended animation for one hundred
and thirteen years, but eventually, in the year two thousand,
Julian is discovered by a man named doctor Leete. When
he awakes, Julian finds himself in a completely transformed utopian country,
a socialist America where all industries have been nationalized. Every

(14:45):
man and woman between the ages of twenty one and
forty five are conscripted into a national work force army.
From birth. Everyone has allotted an annual stipend that they
receive their entire life. All are equal. Men and women
have achieved economic parity. Poverty and unemployment has been alimited.
Crime is vanished, and as a result, prisons in the

(15:06):
legal system had been discarded. Doctor Leet explains to Julian
that since the year eighteen eighty seven when he fell asleep,
businesses had grown larger and larger, forming monopolies. The government
then took over these monopolies and the means of production
to form one huge state trust. And most importantly, doctor
Leet explained that this entire transition was achieved peacefully, not

(15:30):
through a violent revolution. This was the true gem of
the novel. The message of the author was that through
education and persuasion, the American public could gradually be convinced
to relinquish their wealth and privilege. All it would take
is a steady manipulation of the culture, and slowly, over
time people would welcome a socialist America. Looking backward essentially

(15:51):
described the long Marxist March through the institutions. The novel
would eventually sell millions of copies and was translated into German, French, Italian, Russian, Chinese,
and other langugth It was one of the most influential
books of the nineteenth century and the first popular exposition
of socialism in America. Some experts estimated that it was

(16:12):
second only to the monumental Uncle Tom's Cabin in sales,
and this is no small point. Uncle Tom's Cabin was
thought to have inspired the American Civil War. Many thought
that Looking Backward would have the same impact on the
industrial age. It would bring on a bloodless socialist revolution.
In the years following its publication, an estimated one hundred

(16:33):
and sixty two Bellamy clubs sprouted from Massachusetts to California,
each spreading the message of its author, Edward Bellamy. Looking
Backward heavily influenced socialist and labor union icon Eugene Debs,
who considered the author a prophetic visionary. When the Great
Depression hit, Looking Backward enjoyed a new resurgence. Many well
intentioned Americans thought capitalism had failed. They turned to Marxism,

(16:57):
and the book showed the way forward. Socialists and education
and in labor unions embraced the book's law march message.
John Dewey, a famed educational reformer of the early twentieth century,
ranked Looking Backward as the second most influential book of
his time, surpassed only by Karl Marx's Das Capital. In
nineteen thirty four, Socialist California gubernatorial candidate Upton Sinclair ran

(17:20):
a platform pulled right out of the book. If he won,
Upton promised to get the state into the movie making business.
His state produced movies would be shown in state run theaters.
Hollywood studio executives at the time, almost all conservative, worked
together to defeat Sinclair's candidacy, but the defeat didn't discourage
the growing number of Marxists. Looking Backward provided them not

(17:41):
only hope for a socialist America, but a road map
to get there. Through education and persuasion, America could gradually
be transformed into a socialist utopia. With Edward Bellamy's ideas
in tow communists began infiltrating education and the persuasion industries
of media and Hollywood. In nineteen thirty three, John Howard Lawson,

(18:03):
head of Hollywood's chapter of the Communist Party USA, became
president of the Screenwriters Guild. He wanted to control the
documents on which movies were made and hence the content
of the film. In nineteen forty one, Herbert Surrell was
making a move to take over Walt Disney's animation staff,
according to The New York Times. In the Washington Post,
Herbert was a paid operative of the Soviet Communist Party.

(18:25):
Ronald Reagan would later describe his colleague success in stopping
the Communists from taking over his screen Actors Guild, and
in the process he'd reveal how Communists took over other unions.

Speaker 7 (18:35):
He had been eminently successful in preventing them from their
usual tactic of trying to run a majority of an
organization with a well organized minority.

Speaker 1 (18:44):
With just a motivated few, the Communists could take over
the unions through late night tactics that pushed out their
opposition while they were sleeping. In early February nineteen forty one,
Walt sent a memo to his employees informing them that
the studio had fallen on hard financial times due to

(19:04):
the war in Europe. As a result, he'd be unable
to give wage increases to keep the studio afloat. He
asked artists to produce their drawings quicker to meet their
production deadlines. The memmo only inflame the agitators. Sensing a
building discontent, Walt called a meeting to address the entire studio.
On February tenth, nineteen forty one, just before five pm,

(19:28):
Walt gathered the staff in the only space at the
studio that could house all twelve hundred of his employees.
He waited for the room to quiet, then took a
deep breath and leaned into the microphone to address the crowd.

Speaker 7 (19:40):
Twenty years I have spent in this business. I've weathered
many storms. It's been far from easy sailing, which required
a great deal of hard work, struggle, determination, confidence, faith,
and above all, unselfishness.

Speaker 1 (19:57):
Walt informed his team that the war crippled the studio's
box office revenues. He went on to explain that he
he hadn't imposed any significant pay cuts and had done
his best to retain as many employees as possible, and
added that he and Roy took a seventy five percent
pay cut. Walt reminded them that they all still received
vacation time, paid sick leave, and training, and he repeatedly

(20:18):
acknowledged their right to organize, but during his speech he
also addressed the agitators within the company.

Speaker 7 (20:24):
Some people think that we have class distinction in this place.
They wonder why some get better seats in the theater
than others. They wonder why some men get spaces in
the parking lot and others don't.

Speaker 8 (20:36):
I have always.

Speaker 7 (20:37):
Felt, and always will feel, that the men who contribute
the most to the organization should, out of respect a loan,
enjoy some privileges. My first recommendation to the lot of
you is this, put your own house and order. You
can't accomplish a damn thing by sitting around and waiting
to be told everything. If you're not progressing as you should,

(21:00):
instead of grumbling and grolling, do something about it.

Speaker 1 (21:04):
In other words, if agitators weren't happy, then maybe they
should leave. He promised that when foreign markets reopened, the
company would take care of its own, but Walt concluded
that the studio was headed for a rough patch and
that everyone needed to work together to make it through.
Many of Walt's animation supervisors felt he'd struck just the
right tone, but the agitators within the company continued their campaign,

(21:28):
and most Disturbingly, they were union organizing inside the office
during working hours, which was illegal. Walt and Roy continued
to try to resolve the situation. At his artist's request,
he attempted to cut Herbert Surrell out, which he'd later
reflect on, I know that.

Speaker 3 (21:44):
I've been handicapped out there in fighting it because they've
been hiding behind the labor setup. They get themselves closely
tied up in the labor things, so that you'd try
to get rid of them, they'd make a labor case out
of it.

Speaker 1 (22:03):
Urt Cirell employed a common tactic alluded to by Ronald Reagan.
He'd hold divisive votes late at night after eleven p m.
Knowing top talent at the company would have to go
home to sleep before the next work day. That left
only the most die hard guild members the Communists, to
decide important union matters without the opposition of Walt's loyal staff.

(22:24):
In late May nineteen forty one, the union met at
the Hollywood Roosevelt Hotel and took another late night vote,
and the strike proposal passed. Word quickly spread that the
picket line would commence in two days. Walt gathered an
emergency meeting and informed his staff that the studio would
remain open during any strike. He also assured them that
local law enforcement promised a presence to protect those that

(22:47):
wished to continue to work. After the meeting, Walt fired
Art Babbitt for organizing and performing union activities during work hours.
Art immediately became the face of the strike. At six
a m. On May twenty ninth, nineteen forty one, the
strike commenced. Guild members congregated at the studio's entrance well

(23:08):
before workers were to arrive. The picket line swelled, but
by some estimates, only about half were actually employees of
the company. Some were relatives of the strikers, others were
tough guys from affiliated labor unions. In total, only three
hundred and nine out of Walt's roughly twelve hundred employees
joined the strike. An overwhelming majority had no difficulties siding

(23:29):
with Walt. But even with the relatively small defections, Herbert
Cerell did what he promised. He employed his well oiled
smear machine. Walt would later describe his experience well.

Speaker 3 (23:39):
A result was that he struck. I believe at that
time that mister Sorel was a communist because of all
the things that I had heard and had seen his
name of carrying on many of the comic front things.
And when he told the strike, the first people to
smare me and put me on the unfare list were
all of the comifront organizations. They smared me. Nobody came

(24:01):
near to find out what the two facts of the
thing were.

Speaker 1 (24:05):
As this strike progressed, things got ugly. Strikers led by
Herbert Currell, scared anyone who crossed the picket line. They'd
shake people's cars and scratched them as they drove through.
They let air out of workers tires. Walt's own niece,
the beginning animator, was even cursed at and spat on.
Fights broke out, and one non striker claimed shots were fired.

(24:27):
Another artist would later describe the chaotic scene.

Speaker 12 (24:30):
So here we're out on strike now, see. And of
course we behaved like like we're gonna take We're a
young kid, don't forget. And we were having a good time,
and those inside we're not having such a good time
because we were so vocal and outside there, you know,
walking back and forth and yelling at him. But then
Wald going in and out started snarling at us for

(24:50):
some reason. So from then on, every time Wall went
through the line, we made life miserable for you know,
we would holler at him, and he and he saw
see they took pictures of alload And whereas I had
considered myself a good friend Walt before I could see that,
he took a dyslectromy when he saw me, you know,
jumping around and not blaming.

Speaker 1 (25:11):
Walt felt betrayed that any of his animation family would
join the communist instigators.

Speaker 12 (25:16):
He took it to Hart Joe. I knew we had
heard his feeling. How dare we go out on strike
against him? But that changed the whole spirit I think
of animation.

Speaker 1 (25:27):
The union even extended to strike to theaters all across
the country where Disney films were screening. To resolve the situation,
Roy encouraged Walt to take a trip to South America
to get away from the turmoil. Walt agreed, and would
later recall his treatment there as well.

Speaker 3 (25:43):
And I even got into the same smear in South
America through some comedy or periodicals in South America and
generally throughout the world, all the comic groups.

Speaker 1 (25:59):
While Walt was abroad, Roy agreed to a binding arbitration
with the picketers. After ten weeks, the strike ended. The
staff that stayed on board during the strike helped complete
the low budget feature animation Dumbo. It was released in
October nineteen forty one and was both a critical and
box office success. Walt survived again, but his running with

(26:20):
the trade union communists shook him to the core, and
the previously apolitical Walt took a hard right turn. He
became vehemently anti communist and was about to make a
move to try and purge them from Hollywood.

Speaker 2 (26:38):
Netflix, Hulu, HBO, Max, Disney Plus, Apple TV, Amazon Prime, Showtime, Paramount,
Paramount Plus, and on and on. What are these streaming
services have in common? They are all storytelling platforms. Which
of these platforms are you supporting with your hard earned money?
Now ask yourself if the story is being told on
those platforms truly align with your worldview, And if they don't,

(27:01):
ask yourself where you go to get entertainment in the
form of storytelling that does align with your worldview? Red
Pilled America is that show. We are not another talk
show covering today's news. We are all about telling stories.
Three years later, we remain the only show of our kind.
And why aren't there more shows like ours? Because it's

(27:21):
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(27:48):
red Pilled America. So Walt Disney's run in with the
trade union communist shook him to the core, and the
previously apolitical Walt took a hard right turn. He became
vehemently anti communist and was about to make a move
to try and purge them from Hollywood. Walt wasn't necessarily
politically conservative, but he was culturally conservative. He had Middle

(28:11):
American values, and he felt that small town America had
the answers to life's problems. As his Dumbo film was
headed for release, Walt contacted the chairman of the congressional
committee that was looking into Communist infiltration in American institutions.
The committee was known as the House an American Activities
Committee or HWACK. Walt urged them to investigate the strike

(28:34):
instigators at his studio. Over the next few years that
followed the strike, HWAC took no action. The Democrats had
control of Congress and were in no hurry to take
on their ideological comrades, so Walt began to take things
into his own hands. In nineteen forty four, big Hollywood
players formed the Motion Picture Alliance for the Preservation of
American Ideals, or MPa as it was called. Gary Cooper,

(28:58):
John Wayne, cecialb De Mill, Ronald Reagan, Ginger Rogers, and
Politzerprize winning screenwriter Maury Riskin would become members. Walt Disney
was a founding officer. MPA's goal was to defend the
film industry and the country as a whole against communist infiltration.
As nineteen forty five progressed, the conflict between the Communist

(29:21):
trade Union and the Hollywood studios exploded. In March nineteen
forty five, Herbert Surrell correlled over ten thousand union members
to picket at the entrance of every major movie studio.
Several stars ignored the picket lines, and that's when the
first use of the term blacklist began circulating in Hollywood.
A headline in the Hollywood Studio Union News read quote

(29:44):
stars face blacklist fifty one movie grates risk Striker's wrath
if they go on shooting end quote. The trade unions
were threatening to blacklist artists for not joining their cause.
In other words, the Hollywood Blacklist wasn't started by Washington
d C. Or by Tinseltown conservative It was started by
the radical left in Hollywood's trade unions. Actor John Wayne

(30:08):
would later reflect on this fact.

Speaker 4 (30:10):
A lot of people that were fine riders were getting
weren't being used, and it was rough on them. Maury Ruskin,
it was a Bulletzerprize winner couldn't get a job because
he didn't think exactly like these fellows. That's what started it,
not us trying to throw them out.

Speaker 2 (30:27):
The radicals within the trade union ramped up the pressure.
On October fifth, nineteen forty five, Herbert Serell and other
labor leaders orchestrated a massive strike of Hollywood studios. They
attempted to close down Warner Brothers, Twentieth Century Fox, MGM,
Columbia Paramount, and RKO. Local law enforcement was completely overwhelmed

(30:48):
by the union's new aggressive tactics. Violence erupted on the
picket lines. Images of the conflict hit the front pages
of newspapers and newsreels all over the country. Americans at
the time had never seen the level of violence by
labor unions. Non strikers were splashed with gasoline, cars were overturned,

(31:09):
and according to actor Kirk Douglas, thousands of people fought
in the middle of Barham Boulevard with knives, clubs, battery cables,
brass knuckles and chains. Many began to suspect that Communist
Party leaders at a much higher level than Herbert Serell
were orchestrating the unrest. The violence began to shift public
opinion towards actions against the communist agitators. On election day,

(31:31):
November fifth, nineteen forty six, Americans spoke. Republicans picked up
fifty five seats in the House and twelve seats in
the Senate. For the first time in sixteen years, the
GOP had majority control, and that's when the House on
American Activities Committee decided it was time to investigate the
Communist infiltration of Hollywood. A lead investigator from the House

(31:55):
on American Activities Committee would later reflect on how they
first got interested in investigating Hollywood.

Speaker 10 (32:01):
Well, it was more or less request by the people
in Hollywood. Who had personal knowledge of you might say,
Commonist infiltration into various craft unions, and they were concerned
about this infiltration and the influence the Commist party would

(32:24):
have in Hollywood.

Speaker 2 (32:26):
The House Committee hearings opened in October nineteen forty seven.

Speaker 6 (32:31):
This Committee, under its mandate from the House of Representatives,
has the responsibility of exposing and spotlighting subversive elements wherever
they may exist. It is only to be expected that
such elements would strive desperately to gain entry to the
motion picture industry, simply because the industry offers such a

(32:52):
tremendous weapon for education and propaganda. That communists have made
such an attempt in Hollywood, and with considerable success already
evident to this Committee from its preliminary investigative work. The
Committee is determined that the hearing shall be fair and impartial.

(33:13):
We have subpoena witnesses representing both sides of the question.

Speaker 9 (33:17):
All we are after are the facts.

Speaker 2 (33:21):
Twenty friendly witnesses appeared before the committee. Many were members
of Walt Disney's Motion Picture Alliance for the Preservation of
American Ideals. One by one, they stepped up to the
microphone to express their dire concern that communists loyal to
the Soviet Communist Party had infiltrated the Hollywood trade Unions.
One was actor Adolph menju, this is.

Speaker 7 (33:43):
A Poul philosophy, this communistic thing.

Speaker 13 (33:46):
I would move to the state of Texas of it
ever became here, because I think the Texans would kill
them on site.

Speaker 2 (33:51):
Famed studio head Lewis B. Mayer also spoke.

Speaker 14 (33:54):
I'm just hopeful, like I told you, mister Smith in California,
that perhaps out of this hearing our Congress, recommended by
this committee, will have legislation that can be no question,
to give us a policy how to handle American citizens
who don't deserve to be if they are communists, to
get them out of our face.

Speaker 2 (34:14):
Bulletzer Prize winning screenwriter Maury risk And spoke.

Speaker 15 (34:17):
And I think if we're going to spend twelve billion
dollars or whatever it is to contain the communists in Greece,
that we ought to spend at least a couple of
bucks over here and do something about that. What good
is it doing it over there, not getting rid of
it here.

Speaker 2 (34:31):
Well, Disney gave his thoughts on the Soviet Communist Party
infiltrating Hollywood.

Speaker 3 (34:34):
Yeah, I believe it's a non American thing. And the
thing that I resent the most is that they are
able to get into these unions and take them over
and represent to the world that a group of people
that are in my plant, that I know are good
one hundred percent Americans have to are trapped by this group,
and they're represented to the world is supporting all of

(34:55):
those ideologies and it's not so. And I feel that
they really ought to be smoked out and shown up
for what they are so that all the good free
causes in this country, all the liberalisms that really are American,
can go out without distain of communism.

Speaker 2 (35:09):
But perhaps the most insightful testimony came from American philosopher
and Russian immigrant and Rand.

Speaker 11 (35:15):
Almost impossible to convey to the three people what it's
like to live in the facilitarian dictatorship. I can tell
you a lot of details, I can never completely convince
you because you are griefs and it's in a way
good that you don't I can't even conceive about what
it's like.

Speaker 2 (35:31):
She went on to testify, quote, the purpose of the
communist in Hollywood is not the production of political movies,
openly advocating communism. Their purpose is to corrupt our moral
premises by corrupting non political movies, by introducing small, casual
bits of propaganda into innocent stories, thus making people absorb

(35:51):
the basic principles of collectivism by indirection and implication. End quote.
Her words would prove to be prophetic. After the friendly
witnesses testified, the com mid he subpoenaed nine Hollywood screenwriters
and one director, all suspected of being connected to the
Soviet Communist Party. The most colorful testimony maybe came from

(36:13):
screenwriter John Howard Lawson, who was in fact connected to
the Communist Party.

Speaker 6 (36:20):
Are you a member of the Communist Party or have
you ever been a member of the Communist Party. It's
unfortunate and tragic that I have to teach this committee that.

Speaker 8 (36:30):
The good question to the.

Speaker 6 (36:32):
Question is have you ever been a member of the
Communist Party.

Speaker 16 (36:35):
I am framing my.

Speaker 13 (36:36):
Answer in the only way in which any American citizens
can frame his denied question is absolutely INVASI then you
denied you you refuse to answer that question? Is that
tract I have told you that I will for my beliefs,
my affiliations. Here's these, Here's the American Republic, and they
won't know where I stand, as they do from what
I have rich stand away from this name for Americanism

(36:58):
for many years, and I from andand away from the
stand for the Bill of Rights, a man away from
the same.

Speaker 2 (37:05):
All ten of these witnesses refuse to answer the question.
Put in today's terms, it would be like asking them
if they were involved with the Nazis and them refusing
to answer. They were each found to be in contempt
of Congress, and most served a year in jail. By
the time the hearings were over, the public was almost
entirely behind Walt Disney's anti communist effort, so much so

(37:28):
that major studios met New York to discuss how to
handle the issue, and less than a month after the
hearings ended, they issued what became known as the Waldorf statement.

Speaker 17 (37:37):
We will forthwith discharge or suspend without compensation, those in
our employ and we will not re employ any of
the ten until such time as he has acquitted or
has purged himself of contempt and declares under oath that
he is not a communist. We will not knowingly employ

(37:58):
a communist or a member of any party or group
which advocates the overthrow of the government of the United
States by force or by any illegal or unconstitutional.

Speaker 2 (38:09):
Methods, Hollywood's Communist Purge began. It was not orchestrated by
the government, as historians like to claim. It was executed
with the consent of the film industry. For the next
thirteen years, this communist purge spread to other American institutions
as well. One actress later called the communist purge of
the time.

Speaker 18 (38:28):
It spread to every opinion shaping branch of our society,
the press, the broadcast media, education, and even religion.

Speaker 2 (38:41):
Many lukewarm lefties that got tangentially caught up with the
Communist Party were briefly fired by the studios, but were
eventually allowed re entry. But even after the industry hostility
that it sparked, anti communist activists like John Wayne still
believed in their effort. Years later.

Speaker 13 (38:57):
But when you look back at that now, John, this
is a space of time.

Speaker 19 (39:00):
I mean, are you proud of what happened in Hollywood
at that time?

Speaker 4 (39:03):
I think it was probably a very necessary thing at
the time because the radical liberals were going to take
over our business.

Speaker 2 (39:15):
After the Communist hearings, Walt Disney receded from the political theater.
Instead focusing on the cultural stage, he went on offense,
pushing Middle American values through his film projects. In nineteen
forty eight, he premiered So Dear to My Heart, a
story about an Indiana farm boy that perseveres. He ventured
into nature documentaries, which opened an entirely new genre to

(39:37):
his studio. In nineteen fifty, he released the feature length
animation film Cinderella, which was a massive critical and commercial success. Then,
as the nineteen fifties progressed, something started brewing in Walt's mind,
and it was his biggest idea yet. Do you want

(40:00):
to hear Red Pilled America stories ad free? Then become
a backstage subscriber. Just log onto Redpilled America dot com
and click join in the top menu. Join today and
help us save America one story at a time. Welcome back.
So as the nineteen fifties progressed, something big started brewing

(40:20):
in Walt's mind. A hint came when he started selling
off longtime family assets. With the money he generated, Walt
opened a small studio on his Burbank lot. In it,
he housed an organization called WED and began developing an
idea something entirely new. He called it Disneyland. The concept

(40:42):
was to basically create a living movie where people could
walk into his stories. He convinced the fledgling third place
ABC network to fund his wild creation and build a
show around its development and unveiling. On July seventeenth, nineteen
fifty five, he introduced Disneyland to the world through a
live broadcast.

Speaker 9 (41:02):
I'd to start the stings.

Speaker 7 (41:03):
We take you to the entrance of Disneyland and your
host dlink Letter.

Speaker 8 (41:08):
Well, this job in the next hour a half's going
to be a delight. I feel like well, I feel
like Santa Claus with a seventeen million dollar bundle of
gift packages, all wrapped in whimsy and sent your way
over television. With a help of twenty nine cameras.

Speaker 2 (41:23):
Almost half of the American population tuned into the broadcast.
The nation became mesmerized by Walt's creation.

Speaker 8 (41:30):
Walt, you've made a bum out of Barnum today, But.

Speaker 6 (41:33):
We've got to go.

Speaker 5 (41:34):
I know, but I just want to say a word of.

Speaker 7 (41:36):
Thanks to all the artists, of workers and everybody that
helped make this dream come true.

Speaker 2 (41:41):
For decades, Walt Disney had been promoting and preserving an
American ideal. He felt that small town America had the
answer to life's big problems. Through his movies and TV shows,
he presented this ideal, a Christian imbued, patriarchal model of
a family as a cornerstone of a healthy society. Disneyland
was the pinnacle of Walt's cultural impact, but by nineteen

(42:04):
sixty something was happening in America. A massive cultural shift
was underway. Quietly building below the mainstream was a massive
underground backlash to the Communist purge of the late nineteen
forties and nineteen fifties. The Commis hadn't given up. Socialists,
who got much smarter about their tactics, continued marching through

(42:25):
America's institutions, grabbing the reins of Hollywood, the media, academia,
and in some places, even the church. They were still
following the playbook found in Edward Bellamy's eighteen eighty eight
utopian novel Looking Backward.

Speaker 1 (42:42):
To understand just how influential the book was within the
circles that forced the nineteen sixty cultural revolution, one only
needs to look at the icon of the Civil rights movement.
In April nineteen fifty two, a young woman gave Looking
Backward to her suitor. Three months later, that suitor, Martin
Luther King Junior, wrote back to Coreta Scott, thanking her

(43:02):
for introducing him to the stimulating book. He wrote, quote,
Bellamy had the insight of a social prophet. I welcomed
the book because much of its contents is in line
with my basic ideas. I imagine you already know that
I am much more socialistic in my economic theory than capitalistic.
I would certainly welcome the day to come when there
will be a nationalization of industry. End quote. Looking Backward

(43:27):
inspired the leader of the civil rights movement abroad. It
was even one of che Quavera's inspirations during his Marxist
takeover of Cuba. The Communists may have been slowed down,
but their long march continued. By the year nineteen sixty,
the left leaning media had been slowly forming a narrative
shifting public opinion on Walt's communist purage efforts. Socialist sympathizers

(43:50):
within the narrative machines of Hollywood, the media and academia
positioned the unrepentant communists as victims. As the nineteen sixties progressed,
the socialists were again gaining power in America's cultural institutions,
but in a much more more covert nature. They shielded
themselves behind the labels of feminism, civil rights, and the
anti war movement. It was an alarming development to anyone

(44:12):
that was paying attention. On December fifteenth, nineteen sixty six,
America's storyteller Walt Disney died. The world mourned is passing.
He'd been a champion of the American ideal, an accidental
culture warrior. When Walt passed, something fell along with him,

(44:34):
one of the last cultural barriers holding back the building
socialist army. The last animated movie, Walt Oversaw, was released
in late nineteen sixty seven. It was The Jungle Book,
and it told the story of man's ability to conquer nature.
In the closing scene, we get a final glimpse of
Walt's vision of the American ideal. The lead character, Mowgli,

(44:54):
who spent his entire life with jungle creatures, is intrigued
by the sight of a human girl singing outside a
man village.

Speaker 20 (45:03):
Hunting in the fest other's cooking in the hall. I
must go to fetch.

Speaker 21 (45:11):
The water till the day that I am grown tea
lime grown, tea lime grown. I must go to fetch
the water till the day that I am growl.

Speaker 20 (45:34):
Then I will have a handsome husband and a daughter
on my own, and I send her to fetch the water.
I'll be cooking in the home.

Speaker 1 (45:50):
To walk the family was what mattered.

Speaker 20 (45:56):
Then I send her to fetch the water. I'll be
cooking in.

Speaker 1 (46:02):
My Over the next two decades, Walt Disney Studios continued
to churn out family friendly films, but it didn't quite
have the sparkle of its golden age. It seemed to
be more sporadic. The equation that its visionary founder mastered
seemed to fade as Disney slowly transformed. Hollywood was also
experiencing a monumental shift. By the mid nineteen seventies, socialists

(46:26):
that had been purged from Hollywood studios had regained control
of Tinseltown. In nineteen seventy six, one of the directors
that served time during the communist purge, Edward Dimitrick, reflected
on the shift in Hollywood.

Speaker 19 (46:38):
I think there's a reverse blacklist even today now. I
think that the liberals who are riding high are going
in the opposite direction. I think some of the other
fellas back then who were on the reactionary side are
having a tough time getting jobs now.

Speaker 1 (46:52):
The friendly socialists had conquered Movie City. By the mid
nineteen eighties, Disney Studios had narrowly survived a few takeover attempts,
and as a result, they were looking for a new
leadership to strengthen the company. The studio naturally pulled from
the pool of talent in its own backyard, Hollywood. Walt's nephew,
roy O Disney recruited Michael Eisner, who brought in Jeffrey Katzenberg,

(47:15):
and with them came new ideas. Walt Disney's wall had
been fully breached. The studio slowly began to change. The
traditional Christian imbued patriarchal model so evident in Walt's Golden
Age of storytelling began to transform to something different. The
shift was subtle at first, but, like the book Looking

(47:35):
Backward described, over time, the small changes would become more
and more pronounced, until a Disney film became something completely
detached from the studio's American ideal roots. Disney's classic Damsel
Saved by the Prince model would often be rejected, replaced
by stories like Mwana, where the female hero is initially
abandoned by the big strong demigod Maui and left to

(47:58):
heal the ocean on her own. Gender roles were often reversed.
A generation of children were learning the obvious falsehood that
men and women were of equal physical strength, that gender
roles were passe, that broken families were a new American ideal,
that the so called greater good took precedent over the individual.
By two thousand and six, Disney had already acquired ABC

(48:20):
Network and gobbled up Pixar. In two thousand and nine,
they added Marvel Comics to their Infinity Stone Glove. In
twenty twelve, the Empire consumed the Star Wars franchise, and
in each instance, the film and TV shows Disney produced
gradually swapped out the traditional American ideal with one that
more resembled socialism. By twenty sixteen, Disney was producing subtly

(48:43):
radical cartoons like Zutopia, chock full of social commentary about diversity,
systemic racism, and gender bias. It's no coincidence that Zutopia
sounds a lot like Edward Bellamy's Utopia. Over decades, the
culturally conservative studio that Walt Disney lovingly crafted was transformed
into to a socialist tool that could change what it

(49:05):
means to be American. Generations of kids have grown up
on Disney. Many have learned their values from its content, and,
just like Edward Bellamy outlined in his novel Looking Backward,
Seen by Scene, story by story, Disney Studios and its
cultural comrades in Hollywood, the media, academia, and big tech
have all slowly been persuading Americans to accept a socialist country.

(49:29):
While surveying these developments in twenty eighteen, Adrianna and I
were most stunned that conservative media was doing almost nothing
about it, like a junkie hooked on smack. Politics was
the right sole addiction, and they couldn't get enough of it. Republicans,
right wingers maga, the entire conservative movement had almost entirely
abandoned the discipline of storytelling. Sure, there were a few

(49:51):
faith based films being made, there always has been. There
were a few actors speaking out, and even a spattering
of timely political documentaries existed for our viewing pleasure, but
almost no one was consistently our arguing that the right
had to make a serious commitment to the thing that
defines American culture, storytelling. That was the state of things.

(50:13):
As Adrianna and I contemplated starting Red Pilled America, we
decided to put feelers out and approached just about every
significant conservative media outlet in America, pitching them on hosting
our storytelling show that would drive home on a weekly
basis the power of storytelling to solve what's ailing America.
But the surprising thing was that we were turned down

(50:33):
or ignored by everyone. Given our pedigree, it was a
surprising development. It appeared that Conservatism had a fever and
their only prescription was politics. Adrianna and I took a
step back for a moment and contemplated whether we should
move forward with the project on our own. It was
an expensive endeavor it would likely be years before returned
to profit. It was around this time that I remembered

(50:56):
a message from our old friend Andrew Breitbart in his
twenty eleven book Righteous Indignation. Andrew wrote, quote Patrick Carelchi,
thanks for understanding that art and culture are more influential
than politics. It was another version of his now famous
phrase politics's downstream of culture. It sent me on a
hunt looking for Andrew, making that exact statement, and it

(51:18):
was nowhere to be found. And that's when I realized
that the only time Andrew Breitbart has actually been documented
saying his famous quote was to me and about me.
It was kind of like he was nudging us on
from above. So we decided to heed the call and
went on a mission to produce red Pilled America on
our own dime. We really had no choice. Well, we

(51:41):
lucked out when a visionary at iHeartRadio believed in us
and agreed to host our show based almost purely on
the quality of our content. To promote our effort and
challenge a conservative movement to invest in storytelling, we approached
a few key outlets to write op eds. Ben Shapiro
admirably was first to agree to publish our call to action,

(52:01):
and that was important to us because we knew that
the Daily Wire team had a background in entertainment, but
they had drifted from those roots to focus almost exclusively
on politics. We entitled our op at Conservative's Next Frontier
and wrote quote, the only way we can ever hope
to impact culture is to go on the offense and
create our own comedies, our own films, our own storytelling platforms.

(52:24):
Essentially the right needs to create its own Hollywood end quote.
They published it on November one, twenty eighteen, the day
we launched the show, Breitbart News also agreed to publish
our rallying call. The headline read, Andrew Breibart was right.
Pop culture matters, and we made the same basic argument

(52:47):
in the months that followed. We were sure that others
on the right would quickly adopt our message. I mean,
Walt Disney, a cultural conservative, practically defined American culture for
decades with his stories. It seemed obvious that it was
the right's only way forward, But aside from a very
select few, almost no one was taking the plunge. It
was surprising, So while interviewing some key figures on the

(53:09):
right for the show, we began to probe. One pivotal
moment was during an interview with The Daily Wires Andrew Claven.
We asked him for his thoughts on why conservatives didn't
seem to view the arts as important. The question was
not really about a general audience, It was more directed
at conservative leaders and pundits. But Andrew heard my question

(53:31):
differently and his response was illuminating.

Speaker 16 (53:33):
Well, you know, at first, when people would ask me,
is there something about conservatives and is antithetical to the arts.
I would say no, But now I've come to feel
that there's some kinds of conservatism that may be antithetical
to the arts.

Speaker 1 (53:47):
What I gathered was that, in his opinion, a large
part of the conservative movement shun the arts because of
their moral principles, and by extension, no market really existed
for conservative entertainment. The right and likely the Daily Wire,
abandoned storytelling because there was no money in it. So
proving Red Pilled America's business model became another mission of

(54:07):
the show. If we could prove to the right that
someone could actually support a family telling stories, maybe they'd
enter the arena. As Red Pilled America progressed, the dry
spell continued. Almost none of the right wing pundits were
preaching the obvious importance of storytelling. In fact, in one instance,
on a Peger You video, popular conservative activist Charlie Kirk

(54:29):
actually mocked college degrees in storytelling.

Speaker 22 (54:32):
And these majors are mainstream.

Speaker 12 (54:34):
You can get a degree in storytelling, bagpiping, and puppet
arts for your fifty thousand a year.

Speaker 1 (54:41):
It was a discouraging statement for someone that had the
ear of so many Republican youngsters. So when we interviewed
conservative icon Dennis Prager about his peguer You project, we
took the opportunity to sell him on the power of storytelling.

Speaker 7 (54:54):
We don't tell many stories, to be honest.

Speaker 3 (54:57):
It's an interesting point you make, and you're right, I
wish there were stories equivalent to what we're doing.

Speaker 1 (55:09):
A few months later, we got the opportunity to interview
Dave Rubin for an episode and we put a similar
question to him. There was one thing that I've noticed
on the right that there's a lot of complaining about culture.
There's a lot of talking about the culture War. There's
very little storytelling going on on the right. There's very

(55:30):
little push for creation of a new Hollywood, which is
something that we're kind of big advocates of. Why is
it that you think that there is that there isn't
more of a Hollywood, kind of an attempt at creating
another Hollywood, like you're creating this locals environment.

Speaker 22 (55:47):
I mean, first off, the people in Hollywood should all
be in effect libertarians, classical liberals, whatever you want to
call it, because they're in the competition of creating right.
You're creating something, whether it's music, or whether it's a movie,
whether it's comedy, it's some sort of art that you're creating.

Speaker 1 (56:06):
Either Dave missed the crux of my question, or I
didn't ask it well because he went on to criticize
the woke politics of Tinseltown.

Speaker 22 (56:13):
And what's ironic is as Hollywood has allowed woke culture
to infiltrate it, it has actually destroyed the entire industry.
The Oscars did not have a host.

Speaker 1 (56:23):
One thing was clear to us, though at the time
he wasn't thinking much about storytelling. This show kept chugging
along through the quarantines, and surprisingly our audience began to
grow and grow, but still almost no one on the
right was getting into storytelling. And by extension the culture War,
we thought conservative media wasn't listening, but then we realized
they all were. Our message reached a tipping point. Major

(56:48):
players in the right began making our argument.

Speaker 23 (56:51):
You know, if there's any chance that conservatives or freethinkers
are going to survive what's happening right now, it's by
building our own institutions, making our own movie and redefining
the culture.

Speaker 24 (57:02):
If they can control all cultural institutions, then there's nothing
that small toon America can do about anything. The fact
of the matter is that the culture is dominated by
the left. All the cultural institutions look left and right,
tend to communicate differently. Too many people on the right
communicate like accountants.

Speaker 2 (57:20):
Look.

Speaker 24 (57:20):
Storytelling is a natural human expression of all of us,
and it's how we all communicate.

Speaker 6 (57:27):
So tell stories.

Speaker 2 (57:28):
We want to do more than just news.

Speaker 1 (57:30):
We want to build culture and inspire people.

Speaker 6 (57:32):
We're talking about funding a sitcom, We're talking about short films,
many docs, all of that stuff.

Speaker 24 (57:36):
We've expended hundreds of millions of dollars on white papers
from thing tanks. We've expended billions of dollars on elections.
But until we engage in the culture, we're just going
to keep losing. I love this idea of conservatives not
complaining and just creating their own cultural ecosystem.

Speaker 22 (57:51):
For too long, we in conservative media have devoted well
too much of our energy to criticizing art and not
nearly enough energy to actually making it.

Speaker 24 (57:58):
Because the left has spent the last fifty years taking
over nearly every institution in American life.

Speaker 2 (58:03):
The only way that we're going.

Speaker 24 (58:03):
To be victorious is if we push back all at
once in every perceivable area, and entertainment is just the
first step.

Speaker 1 (58:10):
Does any of that sound familiar? You're welcome conservative movement.
Even Dennis Prager, who is intrigued by our argument, started
a Praguer you storytelling show.

Speaker 6 (58:22):
My advice to those in Hollywood who are silent right now,
we have to break the silence before it's too late.

Speaker 9 (58:32):
My name is Samia Armstrong and this is my story.

Speaker 1 (58:45):
Which leads us back to the question how has socialism
spread in America? The answer is socialists methodically took over
each of America's cultural institutions and slowly began pumping the
country with its Marxist poison. These socialists followed the blueprint
of an eighteen eighty eight utopian novel called Looking Backward,

(59:06):
whose message was that, through education and persuasion, America could
slowly be evolved into a socialist country. They followed that
plan and began the long march through Hollywood, the media, academia,
and the literary industry, eventually taking the reins of the
institutions that define what it means to be American. But
Walt Disney showed us the way forward. He went on

(59:27):
offense and created his own persuasion powerhouse that promoted the
American ideal, the idea that the family should be the
cornerstone of a healthy society, and on his clock, he
defeated the Communists by using the power of storytelling. Influencers
on the right now understand that storytelling can cure what
ails our country, and we're not shy in saying that
Red Pilled America has been the pioneer in this awakening.

(59:51):
Conservatives largely abandoned the discipline of storytelling. We know we
were watching, but we were convinced that it was something
that the right could not only be good at, we
had to master the craft, an obligation to continue Walt
Disney's legacy. He was a conservative culture warrior before anyone
knew the culture war even existed.

Speaker 2 (01:00:11):
We hope you continue supporting this show as we work
to shift our culture back towards the middle American ideal,
one story at a time.

Speaker 1 (01:00:20):
Red Pilled America is an iHeartRadio original podcast. It's produced
by Adrianna Cortez and me Patrick Corolci. Now our entire
archive of episodes is only available to backstage subscribers. To subscribe,
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top menu. Thanks for listening,