The Washington Post, but of course, has published a piece claiming that The Lion King is all about Fascism and White Nationalism:
Hassler-Forest continues to draw comparisons between the fictional animals and real world politics, claiming that the iconic Pride Rock is “a kind of Trump Tower of the African savanna” and, bizarrely, that “the hyenas transparently represent the black, brown and disabled bodies that are forcefully excluded from this fascist society” and are “noticeably marked by their ethnically coded “street” accents” (a point which seems to be in and of itself racist as the hyenas have not been heard yet and fans are only aware of the casting of Eric Andre, Florence Kasumba, and Keegan-Michael Key for these roles). Hassler-Forest also believes that the divide between the citizens of the Pride Lands and those who have been exiled to the Outlands for breaking the ‘circle of life’ and the over-hunting of other species, such as the hyenas, is reminiscent of fascistic dividing of communities into specific ghettos:
“Just as fascist leaders constantly pinpoint specific groups they seek to villainize and cast out from “natural” society, the film’s heroes are preoccupied with keeping their kingdom free of contamination by undesirable elements, who are consigned to the shadowy ghettolike areas “beyond our borders” — on the wrong side of the tracks. With these elements in place, the film’s plot centers on what happens when the “natural” supremacy of traditional patriarchal rule is interrupted. This foul betrayal of tradition is predictably orchestrated by Scar, the misfit lion whose opportunistic desire to advance the status of minorities echoes the way conservatives speak of liberal politicians, when they act as if compassion is merely opportunism.”
Through the course of the article, it appears that Hassler-Forest projects the real world struggles of ‘out groups’ upon the exiled hyenas, as he puts forth that the heroic return of Simba to the throne of Pride Rock actually enforces a fascistic principles of hierarchy:
“But as so often in Hollywood films, the explicit Nazi iconography serves primarily to distract us from the heroes’ own fascism. Simba’s final ascent to the throne, his masculine roar returning Scar’s dystopia to its Edenic natural state, is nothing less than the Führer Principle at work: the idea that those we entrust with positions of leadership are blessed with a natural, even divine superiority. Groups who question this system or rebel against it are presented as genetically inferior and malicious beings who must learn to acknowledge their proper place in the social order. As Matt Roth has written, the movie thereby idolizes bullies by mythologizing the most brutal social principles: “only the strong and the beautiful triumph, and the powerless survive only by serving the strong.”
Curiously, though he appears to sympathize with the plight of the exiled hyenas, Hassler-Forest makes only one reference to Scar, the character actually based on fascists Adolf Hitler and Joseph Stalin, lamenting that “the social outcasts’ rebellion against Mufasa’s autocratic regime is explicitly associated with the imagery of goose-stepping Nazis.” To view Scar and the hyenas, a group who believe they have an almost God-given right to rule the Pride Lands and will even murder children in pursuit of that goal, as the ‘true’ heroes shows a shocking disconnect between Hassler-Forest’s personal political views and the actual plot of the film.
Go here to read the rest. Of course this is all quite understandable. The contemporary Left is authoritarian to its core, so it is quite predictable that Leftists would tend to be confused as to who the real Fascists are in an animated movie, since that is merely reflecting the real life confusion that allows them to support Fascist tactics, street violence, suppressing free speech, etc, with a clear conscience, hilariously in the name of anti-Fascism, never suspecting that they just might be the Fascist baddies with their black costumes, black flags and worship of violence.