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May 14, 2024 61 mins

Why is socialism spreading in our country? We conclude our two-part series on perhaps America's greatest storyteller and anti-communist culture warrior...Walt Disney. 

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helping us save America one story at a time. Now
on with the show. Previously on Red Pilled America, Walt
Disney was one of the most prominent anti communists of
his time, and I.

Speaker 3 (00:57):
Feel that they really ought to be smoked by out
and shown up for what they are.

Speaker 2 (01:02):
So Walt was now shoeless.

Speaker 4 (01:04):
Well, I came to Hollywood and arrived here in August
nineteen twenty three with forty dollars in my pocket.

Speaker 2 (01:11):
Walt and his older brother Boy formed the Disney Brother
Studio the next day.

Speaker 1 (01:15):
Walt wanted to create America's first feature length cartoon, Snow
White and the Seven Dwarfs.

Speaker 4 (01:21):
So I had to have a new character. I'd always well,
I'd fool around a lot with little mice, and they
were always cute characters.

Speaker 1 (01:27):
Trouble was brewing. A political force had been quietly infiltrating Hollywood.
How is socialism spreading? I'm Patrick Carelchi.

Speaker 2 (01:40):
And I'm Adriana Cortez, and this is.

Speaker 1 (01:42):
Red Pilled America, a storytelling show.

Speaker 2 (01:46):
This is not another talk show covering the day's news.
We are all about telling stories.

Speaker 1 (01:51):
Stories. Hollywood doesn't want you to hear stories.

Speaker 2 (01:54):
The media marks stories about everyday Americans if the globalist ignore.

Speaker 1 (02:00):
You could think of Red Pilled America as audio documentaries,
and we promise only one thing, the truth. Welcome to
Red Pilled America. This is part two of our two

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,

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

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.

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

good for the master story teller, 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 (04:07):
The first real red flag came a few months before
moving to a studio in Burbank.

Speaker 5 (04:13):
By the AUTOABT released The Gains of the Loves Does
he Pica's have been?

Speaker 3 (04:19):
Dos he aut Do?

Speaker 2 (04:20):
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.

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 6 (04:56):
Initial move to crack France's first defense line is invaded
artillery by a by a railroad guns unlessupposedly impregnabo bas
you know.

Speaker 2 (05:05):
After Hitler's Blitzkrieg, 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

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 3 (05:40):
When I happened to have dinner one night with Stokowski,
Stokowski said, oh, I would love to conduct that for you, Hili.
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 Schakowski.

Speaker 2 (06:00):
When the studio released 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, son of the semper

under Lyne, who's a band?

Speaker 7 (06:26):
The behavior house size, under the principel and collective.

Speaker 2 (06:30):
Barget 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 elaborate sets, wardrobe cost, heavy equipment, location fees,
travel and the like. And Jim had a small fraction
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, 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 draftmen were hundreds
of assistants that penciled less difficult drawings. Eventually these images

went to the incompainte department in.

Speaker 5 (07:39):
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 (08:01):
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 anyone 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,

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

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 with the politically active senior artist named Art Babbitt.

When Walt met Art, he didn't want to hire him.
He shouldn't want with.

Speaker 4 (09:08):
His gut.

Speaker 2 (09:14):
Labor active, as Herbert Cerel promised the younger Disney cartoonists
better wages if they'd unionize under his banner. His tactic
was working and corralling some discontents. 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 Serell, so they approached their boss to tell him.
Walt later recalled this moment.

Speaker 3 (09:47):
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 cautioned 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 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 (10:24):
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 (10:31):
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

ridicule or the smear of a strike. And I told him,
as 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.

Speaker 2 (11:13):
Choose to The meeting turned heated.

Speaker 3 (11:15):
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'd seen, and he laughed and said, well, I used
their money to finance my strike of nineteen thirty seven.

Speaker 2 (11:39):
Herbert Surrell 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 early, an influential book that

provided a roadmap of how to transform America into a
socialist nation.

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Welcome back to Red Pilled America. So before 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 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 Marxists could take over America by embarking
on the Long March through its cultural institutions. The story
that Looking Backward tells is really intriguing. The 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's 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 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 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 una employment has been eliminated, crime is vanished,
and as a result, prisons in the 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 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 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 languages. 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

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

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,

and the book showed the way forward. Socialist in education
and in labor unions embraced the book's long 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 Marxist Das Capital. In
nineteen thirty four, Socialist California gubernatorial candidate Upton Sinclair ran

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

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,

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.

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 8 (18:34):
He'd have 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 (18:42):
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

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,

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 9 (19:39):
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 (19:55):
Walt informed his team that the war crippled the studio's
box office revenues. He went on to explain that 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 acknowledged their

right to organize. But during his speech he also addressed
the agitators within the company.

Speaker 9 (20:23):
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. I have always felt
and always will feel, that's the men who contribute the
most to the organization should, out of respect alone, 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,
instead of grumbling, and do something about it.

Speaker 1 (21:02):
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,

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.

Speaker 3 (21:42):
That I've been handicapped out there and fighting it because
they've been hiding behind the labor setup. They get themselves
closely tied up in the labor things, so that if
you'd try to get rid of them, they'd make a
labor case.

Speaker 10 (21:53):
Out of it.

Speaker 1 (22:00):
Herbert Currell 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.

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

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

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

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 (23:37):
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 hold the strike, the first people to
smare me and put me on the unfare list were
all of the Comi Front organizations. They smared me. Nobody

came near to find up what the two facts of
the thing were.

Speaker 1 (24:03):
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 scratch them as they drove through.
They let air out of workers tires. Walt's own niece
Beginning Animator was even cursed at and spat on. Fights
broke out, and one non striker claimed shots were fired.

Another artist would later describe the chaotic scene.

Speaker 11 (24:28):
So here we're 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.

Speaker 12 (24:48):
For some reason.

Speaker 11 (24:50):
So from then on, every time Wall went through the line,
we made life miserable, for you know, we would holler
at him. And now he and he saw see they
took pictures of all od And whereas I had consider
myself a good friend of Walt before I could see
that he took a dislike to me, would and saw me,
you know, jumping around and you're not blaming.

Speaker 1 (25:09):
Walt felt betrayed that any of his animation family would
join the communist instigators.

Speaker 11 (25:14):
He took it to heart. 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 (25:25):
The union even extended the 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's agreed, and would
later recall his treatment there as well.

Speaker 3 (25:41):
And I even run into the same smear in South
America through some coma periodicals in South America and generally
throughout the world, all the comic groups.

Speaker 1 (25:57):
While Walt was abroad, Roy agreed to 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 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 (26:36):
Netflix, Hulu, HBO, Max, Disney Plus, Apple TV, Amazon Prime, Showtime, Paramount,
Paramount Plus, and on and on. What are the 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,

ask yourself where you go to get entertainment in the
form of storytelling that does align with your worldview? Red
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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

American values, and he felt that small town America had
the answers to life's problems. As his Dembo film was
headed for release, Walt contacted the chairman of a 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

instigators at his studio. Over the next few years that
followed the strike, Hwack 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,

John Wayne, cecilb De mil Ronald Reagan, Ginger Rogers, and
Politzer Prize 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 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 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 conservatives. It was

started by the radical left in Hollywood's trade unions. Actor
John Wayne would later reflect on this fact.

Speaker 13 (30:08):
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 Bulletzer Prize winner couldn't get a job
because he didn't think exactly like these fellows. That's what
started at not us trying to throw them out.

Speaker 2 (30:26):
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

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 this level of violence by
labor unions. Non strikers were splashed with gasoline, cars were overturned,

and according to actor Kirk Douglas, thousands of people fought
in the middle of Barham Boulevard with knights 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,

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

on American Activities Committee would later reflect on how they
first got interested in investigating Hollywood.

Speaker 14 (32:00):
Well, this was more or less request by the people
in Hollywood who had personal knowledge, you might say, Commonist
infiltration into various craft unions, and they were concerned about
this infiltration and the influence the Commist party would have

in Hollywood.

Speaker 2 (32:25):
The House Committee hearings opened in October nineteen forty seven.

Speaker 15 (32:29):
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

tremendous weapon for education and propaganda. That communists had made
such an attempt in Hollywood, and with considerable success, yes,
is already evident to this committee from its preliminary investigative work.
The Committee is determined that the hearing shall be fair
and impartial. We have subpoena witnesses representing both sides of

the question.

Speaker 3 (33:15):
All we are after are the facts.

Speaker 2 (33:20):
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 a.

Speaker 3 (33:41):
Power philosophy, this communistic thing.

Speaker 16 (33:44):
I would move to the state of Texas of it
and became here because I think the Texans would kill
them on site.

Speaker 2 (33:49):
Famed studio head Lewis B. Mayer also spoke.

Speaker 17 (33:52):
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. There can be no question
to give it a policy how to hand those American
citizens who don't deserve to be if they are communists,
to get them out of our place.

Speaker 2 (34:12):
Bulletzer Prize winning screenwriter Maury risk And spoke, and.

Speaker 16 (34:15):
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 and not getting rid
of it here.

Speaker 2 (34:29):
Well, Disney gave his thoughts on the Soviet Communist Party
infiltrating Hollywood.

Speaker 3 (34:32):
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 representative the world is supporting all of 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. With all the good free causes in
this country, all the liberalisms that really are American can
go out without distain of communism.

Speaker 2 (35:08):
But perhaps the most insightful testimony came from American philosopher
and Russian immigrant and Rand.

Speaker 18 (35:13):
Almost impossible to convey to the three people what it's
like to live in the facilitarian potatorship. I can tell
you a lot of details, I can never completely convince
you because you are Greece and it's in a way
good that you don't I can't even conceive about what
it's like.

Speaker 2 (35:29):
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

the basic principles of collectivism by indirection and implication. End quote.
Her words would prove to be prophetic. After the friendly
witnesses testified, the committee subpoened nine Hollywood screenwriters and one director,
all suspected of being connected to the Soviet Communist Party.
The most colorful testimony maybe came from screenwriter John Howard Lawson,

who was in fact connected to the Communist Party.

Speaker 15 (36:18):
Are you a member of the Communist Party or have
you ever been a member of the Communist Party? It's unfortunate,
in tragic that I have to teach this committee is
an americanism. That's the question to the question is have
you ever been a member of the Communist Party?

Speaker 7 (36:33):
I am framing my answer and the only way in
which any American citizen can fame his you denied question,
invade is absolutely INVASI.

Speaker 15 (36:42):
Then you denied you you refuse to answer that question?

Speaker 11 (36:45):
Is that correct?

Speaker 3 (36:45):
I have told you that.

Speaker 4 (36:46):
I will for my beliefs my affiliations.

Speaker 7 (36:49):
Here's here's with the American Republic, and they won't know
where I stand as they do from what I.

Speaker 17 (36:54):
Have writ stand away from this day for.

Speaker 7 (36:56):
Americanism for many years, and I play stand away from
the stand.

Speaker 17 (37:01):
A man away from the same.

Speaker 2 (37:03):
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

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 6 (37:35):
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 over that
he is not a communist. We will not knowingly employ

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 methods.

Speaker 2 (38:08):
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 19 (38:26):
It spread to every opinion shaping branch of our society,
the press, the broadcast, media, education, and even religion.

Speaker 2 (38:39):
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.

Speaker 6 (38:54):
Years later, But when you look back at that now, Jena,
this is a space of time.

Speaker 5 (38:58):
I mean, are you proud of what happened in Hollywood.

Speaker 13 (39:00):
At that time? 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 (39:13):
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

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

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 topmenu. Join today and help
us save America one story at a time. Welcome back.
So as the nineteen fifties progressed, something big started brewing

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

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 3 (41:00):
And to start the proceedings, we take you to the
entrance of Disneyland and your host artlink letter.

Speaker 8 (41:06):
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 package is all wrapped in whimsy and sent your
way over television. With a help of twenty nine cameras.

Speaker 2 (41:21):
Almost half of the American population tuned into the broadcast.
The nation became mesmerized by Walt's creation.

Speaker 8 (41:28):
Walt, you've made a bum out of Barnum today. But
we've got to go.

Speaker 9 (41:32):
I know, but I just want to say a word
of thanks to all the artists, the workers, and everybody
that helped make this dream come true for.

Speaker 2 (41:39):
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 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 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 (42:40):
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 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

inspired the leader of the civil rights movement abroad. It
was even one of Chey 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 perage efforts. Socialist sympathizers

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 institution,
but in a much 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 that

was paying attention. On March fifteenth, nineteen sixty six, America's
storyteller Walt Disney died. The world mourned his passing. He'd
been a champion of the American ideal, an accidental culture warrior.
When Walt passed, something fell along with him, 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, who

spent his entire life with jungle creatures, is intrigued by
the sight of a human girl singing outside a man village.

Speaker 10 (45:00):
Father is hunting in the fest, other's cooking in the hall.
I must go to fetch 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 growel. Then I will have a handsome
husband and a daughter of my own.

Speaker 2 (45:40):
And I send her to fetch the water.

Speaker 10 (45:44):
I'll be cooking in the hole.

Speaker 1 (45:48):
To walk the family was what mattered.

Speaker 16 (45:51):

Speaker 10 (45:54):
Then I send her to fetch the water. I'll be cooking.

Speaker 1 (46:03):
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 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 Dimitric, reflected on the
shift in Hollywood.

Speaker 4 (46:36):
I think there's a reverse blacklist even today.

Speaker 10 (46:38):

Speaker 4 (46:39):
I think that the liberals who are riding high are
going in the opposite direction.

Speaker 8 (46:45):
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 (46:50):
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 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,

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

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

heal the ocean on her own. Gender roles were often revered. First,
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

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

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 a socialist tool that could change what it 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, scene
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.

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

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 arguing that the right had
to make a serious commitment to the thing that defines
American culture, storytelling. That was the state of things 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 or

ignored by everyone. Given our pedigree, it was a surprising development.
It appeared that conservatism had a feva 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 a message
from our old friend Andrew Breitbart. In his twenty eleven
book Righteous Indignation. Andrew wrote, quote, Patrick CARELCI, thanks for
understanding that art and culture are more influential than politics.

Speaker 18 (51:06):
End quote.

Speaker 1 (51:07):
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 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 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 the 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, and that
it 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 ed 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. 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 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 view, almost no one
was taking the plunge. It was surprising, So while interviewing
some key figures on the 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 differently and his response was illuminating.

Speaker 12 (53:31):
Well, you know, at first, when people would ask me,
is there something about conservatives 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 (53:45):
What I gathered was that, in his opinion, a large
part of the conservative movement shunned 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 becase because there was no money in it.
So proving Red Pilled America's business model became another mission

of 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 actually mocked college degrees in storytelling.

Speaker 20 (54:30):
And these majors are mainstream.

Speaker 11 (54:32):
You can get a degree in storytelling, bagpiping, and puppet
arts for your fifty thousand a year.

Speaker 1 (54:39):
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 Praguer You project, we
took the opportunity to sell him on the power of storytelling.

Speaker 3 (54:52):
We don't tell many stories, to be honest.

Speaker 12 (54:55):
It's an interesting point you make, and you're right, I
wish there were a story stories equivalent to what we're doing.

Speaker 1 (55:07):
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

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 21 (55:45):
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 it's
a movie, whether it's comedy, it's some sort of art
that you're creating.

Speaker 1 (56:04):
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 21 (56:11):
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 (56:21):
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, doubling than tripling, than quadrupling, then quintupling
in listenership. 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
players in the right began making our argument.

Speaker 21 (56:53):
You know, if there's any chance that conservatives or freethinkers
are going to survive what's happening right now, it's by
bilding our own institutions, making our own movie, and redefining
the culture.

Speaker 20 (57:05):
If they can control all cultural institutions, then there's nothing
that Smallton America can do about anything.

Speaker 22 (57:11):
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 11 (57:22):

Speaker 22 (57:22):
Storytelling is a natural human expression of all of us,
and it's how we all communicate.

Speaker 1 (57:29):
So tell stories.

Speaker 20 (57:31):
We want to do more than just news, want to
build culture and inspire people. We're talking about funding a sitcom,
We're talking about short films, many docs, all of that stuff.

Speaker 22 (57:38):
We've expended hundreds of millions of dollars on white papers
from think tanks. We've expended billions of dollars on elections.
But until we engage in the culture, we're just going
to keep losing.

Speaker 2 (57:47):
I love this idea of conservatives not complaining and just
creating their own cultural ecosystem.

Speaker 21 (57:53):
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 22 (58:00):
Because the left has spent the last fifty years, taking
over nearly every institution in American life. The only way
that we're going to be victorious is if we push
back all at once in every perceivable area, and entertainment
is just the first step.

Speaker 1 (58:12):
Does any of that sound familiar. You're welcome conservative movement.
Even Dennis Prager, who is intrigued by our argument, started
a Prager You storytelling show my.

Speaker 5 (58:25):
Advice to those in Hollywood who are silent right now,
we have to break the silence before it's too late.

Speaker 6 (58:34):
My name is Samia Armstrong and this.

Speaker 1 (58:36):
Is my story, 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, 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 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 ailes our country, and we're not shy
in saying that Red Pilled America has been the pioneer
in this awakening. Conservatives largely abandoned the discipline of storytelling.
We know we were watching, but we were convinced that

it it was something that the right could not only
be good at, we had to master the craft. We
have an obligation to continue Walt Disney's legacy. He was
a conservative culture warrior before anyone knew the culture war
even existed.

Speaker 2 (01:00:13):
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 (01:00:22):
Red Pilled America's an iHeartRadio original podcast. It's produced by
Adriana Cortez and me Patrick CARELCI. Now, our entire archive
of episodes is only available to Backstage subscribers. To subscribe,
visit Redpilled America dot com and click support in the
top menu. Thanks for listening, U,
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