Walt’s Disenchanted Kingdom dutifully chronicles the moral degradation of a Disney corporation that has traded wholesome family values for LGBT activism, yet the documentary could have delved more into the rainbow-coloured pit that swallowed Walt Disney’s creation into a woke hellscape.

Produced by the Catholic League, there is no denying from what angle Walt’s Disenchanted Kingdom is coming from, yet that does not mean the information presented in the Jason Killian Meath directed documentary isn’t true.

For many eagle-eyed observers, the transformation of the Walt Disney conglomerate into a platform for left-wing political issues has been alarming since the Disney brand is one that caters to families, with children a particular target market receptive to messages smuggled into a TV show or movie. Walt’s Disenchanted Kingdom casts its net wider and examines the impact that the activist wing of the LGBT community has had on both corporate America and the political class, and its effect on everything to education and social media.

The Covid-19 lockdowns (which deserves similar scrutiny) brought with it the chance for parents to see just what their children are being subjected too not only from the “House of Mouse”, but other institutions which parents once trusted as positive influences upon their children. It is funny how a pandemic helped expose the woke parasite invading family homes.

As Disney stuck their heels in and embraced the ideology of “inclusion”, their content, their product, their brand changed to reflect a one-sided viewpoint that has proven to be alarming in its forceful and, dare it be said, anti-Christian approach. In a never-ending culture war, Disney has become a tyrannical force goose stepping across “enemy” lines with rainbow flags on mast and BLM shirts the uniform.

Throughout Walt’s Disenchanted Kingdom an impressive roster of talking heads – ranging from journalist Miranda Devine; film critic Christian Toto; to neurosurgeon turned politician Ben Carson – bring their expertise to the case of Disney’s undoing. The lack of a clear voice to guide viewers through the film’s narrative, however, does get tedious, with Mercedes Schlapp appearing as a presenter on some occasion, while conservative social media influencer Will Witt appears in “man on the street” segments in others. The results feel much more fragmented and crowded then it should be.

At 50 minutes, needed was more time to delve further into the issues presented in Walt’s Disenchanted Kingdom, a fine introductory lesson for the uninitiated, but for those already familiar with Disney’s descent into wokedom there will be a thirst for more, especially regarding the key players in the Disney boardroom who have turned a once dependable business model into their own personal soapbox. Hopefully, we will get that documentary too.