FXX is courting controversy with its animated series, Little Demon, which follows the life of a young teenage girl who learns she is a human-demon hybrid spawn of Satan. The series is said to feature black magic, witchcraft, pagan rituals, gratuitous blood, gore, and nudity. Of course, not all audiences are excited about this adult-themed cartoon as many Christians are upset a TV network would explore a demonic topic with such detail. It has always been argued Hollywood is a dark cult of entertainment producers, actors, and technology wizards using multidimensional occult art and practice techniques to indoctrinate the masses. Tonight on Ground Zero, Clyde Lewis talks about MERRIE HELLODIES.
Throughout the 1980s, concerned parents were led to fear that demonic influence lay hidden in much that their kids found entertaining: music, games, and TV.
Many of the children of the 1980s gathered in churches for the satanic warning sermon that included backward masking in music, to the devil and hidden sexual content in children’s cartoons.
The hysteria dubbed the “Satanic Panic,” has passed into history but not without many bumps along the way.
In retrospect, the Satanic Panic simply followed the time-honored tradition of parents not understanding or liking what excited their children; when the same parents were young, their parents hated the Beatles. During the Reagan decade, conservative Christian belief in the reality and power of Satan, the near-universal presence of electronic media in U.S. households, and cultural spillover from the paranoid style in American politics all interbred to birth an era uniquely repelled by and obsessed with the specter of evil. Nowhere is this folkloric read of popular culture better represented than in two of the 1980s’ most salient cultural artifacts: heavy metal records and Saturday morning cartoons.
Heavy metal, of course, has enjoyed diabolical affiliation from Black Sabbath onward. But it wasn’t until the ’80s that bands like Venom and Deicide made overt hails to the Dark Lord, or that glam bands like Mötley Crüe slapped a pentagram on their album cover to generate press.
There have been many controversies surrounding children’s cartoons and programming, one, in particular, is the Mighty Mouse Cocaine controversy.
During the production of the episode “The Littlest Tramp” of Season 1 of Mighty Mouse: The New Adventures, editor Tom Klein expressed concern that a sequence showing Mighty Mouse sniffing the remains of a crushed flower resembled cocaine use.
Ralph Bakshi famous for great Animated features like Wizards, Lord of the Rings and Fritz The Cat did not initially view the footage; he believed that Klein was overreacting, but agreed to let him cut the scene.
John Kricfalusi who would eventually go on to become famous for the Ren and Stimpy show expressed disbelief over the cut, insisting that the action was harmless and that the sequence should be restored. Following Kricfalusi’s advice, Bakshi told Klein to restore the scene, which had been approved by network executives and the CBS Standards and Practices department. The episode aired on October 31, 1987, initially without controversy.
On June 6, 1988, Donald Wildmon, head of the American Family Association (AFA), alleged that “The Littlest Tramp” depicted cocaine use, instigating a media frenzy. Concerning Bakshi’s involvement with Mighty Mouse: The New Adventures, the AFA claimed that CBS “intentionally hired a known pornographer to do a cartoon for children, and then allowed him to insert a scene in which the cartoon hero is shown sniffing cocaine.”
Bakshi responded, “You could pick a still out of Lady and the Tramp and get the same impression. Fritz the Cat wasn’t pornography. It was social commentary. This all smacks of burning books and the Third Reich. It smacks of McCarthyism. I’m not going to get into who sniffs what. This is lunacy!”
Bakshi defended the episode, saying, “I despise drugs. I would be out of my mind to show a cartoon character snorting cocaine in a cartoon”, and stating that Wildmon had interpreted the scene out of context. “Mighty Mouse was happy after smelling the flowers because it helped him remember the little girl who sold it to him fondly. But even if you’re right, their accusations become part of the air we breathe. That’s why I cut the scene. I can’t have children wondering if Mighty Mouse is using cocaine.” On CBS’s order, Klein removed the sequence from the master broadcast footage.
Wildmon claimed that the edits were “a de facto admission that, indeed, Mighty Mouse was snorting cocaine”. Bakshi agreed to the removal of the offending 3½ seconds from future airings of the episode because of his concern that the controversy might lead children to believe that what Wildmon was saying was true. Wildmon’s group then demanded the removal of Bakshi but, on July 25, 1988, CBS released a statement in support of him.
But the controversy led to investigations into subliminal sexual innuendos in cartoons; mainly, Disney cartoons.
It has been found that there is more than one subliminal message reported in Disney movies. You can realize their presence on numerous messages if you pay extra attention.
In the animated film, The Rescuers, two mice named Bernard and Bianca were going to rescue their friend, Wilbur; you can easily see a naked woman’s image in the background, in the windows, it is a subliminal pornographic clip. Clearly, this is very inappropriate for children.
Arguably, one of the best Disney movies, The Lion King, was also reported to have a subliminal message in it. There are many reports that the word ‘sex’ is often seen in the film.
In the scene where Simba disappointedly sits down, a bit of dust comes up, in which the word ‘sex’ is clearly evident. However, some say that it is ‘SFX’ instead of ‘sex’, but it is not that difficult to understand. One question that arises is why would such subliminal messages be placed in a children’s movie in the first place?
The very concept of it is disturbing.
Finally, in the movie, Aladdin, if you pay a little bit of extra attention, you will notice that when Aladdin sneaks in and climbs into Jasmine’s Palace’s wall, and when on the roof her pet tiger attacks Aladdin, there comes a subliminal message.
Aladdin says, “Good kitty, down boy!” Then soon after that, you can hear a mumbling sound, saying, “Good teenagers take off your clothes!”
Disney didn’t accept that this was subliminal activity; however, it can be easily heard and created a great amount of controversy.
The subliminals are a matter of controversy that some people believe are intentional and harmful while others say they are harmless.
The horror film, The Exorcist, is well known for its frightening yet effective use of subliminal images throughout the film, depicting a white-faced demon named Captain Howdy. This image is shown in the character Father Karras’ nightmare, where it flashes across the screen for a few seconds before fading away.
That wasn’t the only bit of subliminal trickery in the film, though. Friedkin also added the sound of buzzing bees to the background of certain spooky scenes, hoping to trigger a flight-or-fright response in viewers.
When choosing horror films you can expect blatant references to Satanism, witchcraft, and medieval Christian Iconography.
This always sets the mood but again, the controversy over whether or not a cartoon should be blatant in its satanic themes should be marketed to children.
Well, FXX and Hulu are courting controversy with the animated series which follows the life of a young teenage girl who learns she is a human-demon hybrid spawn of Satan.
The series, titled Little Demon, is set 13 years after the Devil impregnated a single “reluctant mother,” resulting in the birth of their “antichrist” daughter Chrissy.
The show is being described as “an animated comedy featuring the voices of Danny DeVito and Aubrey Plaza. It has been 13 years since being impregnated by Satan, and a reluctant mother, Laura, and her Antichrist daughter, Chrissy, attempt to live an ordinary life in Delaware. However, the two are constantly thwarted by monstrous forces, including Satan, who yearns for custody of his daughter’s soul.”
The series is said to feature demonic witchcraft, pagan rituals, gratuitous blood, gore, and nudity.
Little Demons is not the first series aired promoting Satanism. In 2020, Disney introduced its first bisexual child as a lead character in the kid’s series The Owl House, created by Dana Terrace.
The story follows a 14-year-old bisexual Dominican-American girl who is intent on becoming a witch after stumbling upon a portal to the Demon Realm where she befriends a rebellious witch.
According to Newsweek, Alex Hirsch, a writer and animator who previously worked with the series’ creator on the show, Gravity Falls, said: “[Terrace] wanted to pick my brain in the early days of the series, when the original pitch was ‘girl hangs out with witch in hell.’”
Artist Ricky Cometa said, “When Dana first approached me, she said that ‘we’re trying to make this demon realm part of Disney,’ which is something I didn’t think would happen.”
Cometa went on to say, “We really wanted to make this demon realm feel like home, and just had to figure out how to do it.”
However, not all audiences are excited about Little Demon. Many Christians are upset that a Disney-owned animated series would explore a demonic topic.
It’s important to note that while Little Demon is animated, it received a TV-MA rating and is intended for adult audiences.
It has always been argued Hollywood is a dark cult of entertainment producers, actors and technology wizards using multidimensional occult art and practice techniques to indoctrinate the masses.
Where else do you find sympathy, honor and special places set aside for cannibalism, rape, murder, violence, sexual perversion, incest, bestiality, and Satan.
Hollywood, along with Big Tech are the new world order standards by which secret societies harvest our youth for social programming, mind control, sexual exploitation, and power.
In a major revelation last week, Disney executive producer Latoya Raveneau and President of Disney General Entertainment Content Karey Burke were among the many who admitted to having a not-so-secret agenda to push gay and queer content in programs targeted to children.
Not that LGBTQ themes are equivalent to that of the occult — it is just that parents have to decide what is best for the children to watch. We can’t always take for granted that a Disney film is sending a positive message when they wish to program certain views in the woke world.
It has now been reported that 50% of regular and recurring characters across Disney General Entertainment scripted content will come from underrepresented groups.
Do you worry that your superhero movie is woke? It probably is and you will be seeing more and more characters that are unconventional — at least in the eyes of conservative viewers.
But back to the occult and Little Demons TV show — the producers have gone on the record as saying that they will push the limits as far as they can until they are told no.
Of course, we all have limits as to what occult characters our kids are exposed to.
Disney has been able to achieve its success by skillfully creating characters, screenplay and plots carefully crafted to lead people to think along certain lines, using powerful subliminal messages, imagery and symbolism, of occult, witchcraft, pagan, Illuminati, masonic, sexual and other satanic origins.
The borders separating good and evil are blurred and often good is subtly or overtly made to seem evil, boring or just plain wrong, while evil is presented as good, or somehow interesting, fascinating, glamorous, exciting and desirable.
Disney has taken fairy tales, fables, legends and stories from all over the world, and applying various themes to places, nature, animals, and characters both real and fantasy, along with appealing music and lyrics, creatively manipulated and packaged them.
You have Aladdin making deals with a genie or a jinn a middle eastern demon to grant his wishes, The little mermaid making deals with a sea witch, You have Rafiki who was a sage or Magi offering divine wisdom to Simba in the Lion King, Cinderella who meets a fairy godmother and helps her manifest her wish, Pocahontas who goes into the woods looking for answers/signs and who is then able to reconnect with her grandmother through a tree definitely some old pagan wisdom being dealt out.
There is at least one tragic death in almost every Disney film and according to a study published in “The Social Science Journal” there were 561 incidents of child abuse and mistreatment in Disney movies released between 1937 and 2006, with 62% of the main child characters being subjected to abuse on one or more occasions during the film.
Often in Disney stories, one or both parents are dead and children are left to their own devices, while in others the parents are somehow inadequate or an object of ridicule. The list is extensive.
In Little Demon, the joke is that the absentee parent or the deadbeat Dad is Satan himself fighting for custody of his antichrist daughter.
It blurs the line between childhood and adulthood, catering to both children’s and adult’s sense of perfection, and purging the imaginary world it creates of “evil” and normalizes in metaphor the Devil as being a natural part of the lives of both children and adults.
We also see that in Disney’s film history, adults have always represented quirky, uncouth, uncool, burdensome characters. Kids are central target — adults: merely proxy.
But once the heart of the child has been claimed, the adult is of no use anymore, and kids must come to understand that.
Ironically, many adults were raised on Disney, and stand forever armed to bring down the hammer on anyone who claims Disney does more than entertain —that it educates and indoctrinates children (explicitly or otherwise).
And it’s not so hard to understand why: for who, in right mind and sense, can accuse a round-eared, glove-wrapped, oval-eyed mouse of orchestrating an insidious plan to indoctrinate children worldwide?
This has made Disney, Teflon for years — even as it carries out some of the most retrograde work practices in the modern world, and bombards children with all kinds of mixed messages, and attempts to subvert parental authority, individual agency, social community, public spaces, and private lives. Disney also wins in a world where the worth of children factors less each day, where hundreds of billions of dollars are cashed in annually from direct marketing to kids of any age, and the sexualization of children is also part of the business of Disney.
The White female raised on Disney mostly learns that her lot in life is to seek endlessly until finding that knight-in-shining-armor — without whom her life would lack meaning. For the White male, over the White female has he been given dominion: for her existence is incomplete without him; and should he feel just in kidnapping and abusing and maltreating her, she can’t but settle patiently till the inner prince lurking is comfortable enough to set forth, at least if You are Belle from Beauty and the Beast.
For the Black or Brown male or female, if a chambermaid or villain or terrorist or thug or brute isn’t too full a pill to swallow, arrangements can be made for a future blockbuster motion picture that stresses to do better.
In March 2007, Disney announced early preparation for a new animated production, The Frog Princess. Maddy (as in: Mammy), in true “American fairy tale” tradition, would be a Black chambermaid slaving away in the New Orleans pit of a spoilt, White débutante, only to be rescued ultimately by a voodoo priestess fairy godmother who helps her clutch the heart of a White prince who rescued her from a Black Magic villain.
But soon as the 40 million Black people in America got word of Disney’s latest exploits in the realm of racial imagination, holy hell let loose, and the plot and title were at once scrapped: revised as The Princess and the Frog: the tale of Tiana, a fatherless 19-year-old Black waitress (and aspiring restaurant owner), set in Jazz Age New Orleans, who tries to snap a wicked spell placed on a not-quite-White prince, and thereby restore his humanity — only to be transformed herself into a frog, then having to hop through life’s animated twists and turns until arriving at the inevitable ending where both regain their character, fall into sensual bliss and live happily ever till the credits roll.
How fortuitous for Disney that it sought to assure the world’s Black girls belonged better in kitchens and laundry rooms rather than restaurants and board rooms.
As we have learned from various woke attempts at being inclusive Disney has been bold in creating strong female leads in Star Wars, and superheroes in the MCU that are female for no reason other than…let’s give it a try.
We also have seen gratuitous gay kissing scenes in Disney films that have turned off both the straight and gay communities.
It is another one of those unneeded same-sex kisses that Disney or in this case Pixar sneaks under the radar,
The kiss featured in Lightyear was initially cut from the final movie. But was restored when Pixar came under fire for their response to the “Don’t Say Gay Bill” in Florida. This spurred Pixar employees to send a letter to CEO Bob Chapek.
“We at Pixar have personally witnessed beautiful stories, full of diverse characters, come back from Disney corporate reviews shaved down to crumbs of what they once were. Even if creating LGBTQIA+ content was the answer to fixing the discriminatory legislation in the world, we are being barred from creating it.”
Since then, Chapek issued an open apology to Disney and Pixar employees, promising to do better. So far, there have been notable steps. Dr. Strange and the Multiverse of Madness featured an America Chavez with two moms and a pride pin, and Lightyear’s kiss was restored for its theatrical run. This led to both films being banned in multiple countries for refusing to censor the characters or scenes.
While the representation is a small drop in a bucket, these decisions have been making large waves both across continental borders and within our own communities in America.
What we are seeing is Disney shaping the attitudes of another generation. In their world demons and angels are interchangeable and powerful Gay characters will be introduced regardless of the older generation’s reservations.
For example like the Lightyear controversy — Star Wars: The Rise of Skywalker also had a same sex kiss–and it also generated a little controversy — but it also spun a topic as to whether or not the Male character Finn should have a deep bromance with the Star warrior Poe Dameron.
What Disney has for nearly a century packaged as family, wholesome fun and entertainment—totally innocent and innocuous — has meant the imposition of narrow and often prejudicial values–however their ability in trying to change the prejudices is turning off old school Disney aficionados.
Disney may be a global, corporate force wielding enormous resources, those who find fault with its principles have no other choice but to fight it alone –and face ridicule.
So again, I guess this is where Disney will always remain a Teflon business.
You spit in the direction of Disney and you spit on kids, adults, and society.
People have to understand that film watching involves more than entertainment. It is more than that. It is sanitized versions of history, it is social engineering and now the new owners of the narrative are going to give your kids and the culture a dose of the harsh reality of the devil and the deep blue sea.