By deciding to change the theme of Splash Mountain, Disney did the right thing both ethically and economically.
Those two don’t always go together. But they did here. As a multimedia entertainment giant, Disney wants three-tool franchises — ones that work in its theme parks, sell merchandise and play to large audiences in movies or on TV. Because of its roots in minstrelsy, Splash Mountain’s “Song of the South” franchise could not deliver that.
Disney wisely has buried its 1946 live action and animated film — it’s one of the few Disney classics you won’t find on Disney+. Whether author Joel Chandler Harris meant for his Uncle Remus stories to be respectful representations of 19th century Black folklore is irrelevant. Racism fueled their popularity. And even if Disney tried to disassociate Brer Rabbit and friends from “Song of the South,” Splash Mountain’s “Zip-a-Dee-Doo-Dah” theme song cannot escape its racist origin as the lyric of a minstrel song that included a racial slur in its title.
Changing Splash Mountain to “The Princess and the Frog” not only allows Disney finally to cut all ties to “Song of the South,” it allows the company to amplify a franchise led by one of its most beloved Black characters. But the switch does have some Disney fans concerned about the future of other Disney theme park attractions. Will Disney switch the theme of other rides that aren’t based on popular movie or TV franchises?
One of more troubling original franchises in Disney’s theme parks is “Jungle Cruise,” with its abundant caricatures of African natives. Disney is set to release a movie based on that ride, so I’m inclined to wait until we see how Disney might reframe that franchise through the film before calling for change. Still, Disney needs to do something there.
The original theme park franchise that I think offers the most opportunity for Disney right now is its Society of Explorers and Adventurers. With roots in Western colonialism, the SEA might seem an odd choice for a moment when creators are being called to task for exploitative works.
But SEA does not glorify colonialism. Far from it. In Tokyo’s version of Tower of Terror, the SEA member is played as the villain, who — spoiler alert — perishes at the will of the idol he’s trying to steal. Other SEA members, such as the host of Tokyo’s version of Soarin’, look to celebrate newly encountered cultures rather than exploit them.
Exploration and discovery don’t just happen in far-away places. They can happen here at home, when you run into people who don’t share the same skin color, religion, politics or background as you. That’s what makes the SEA narrative so relevant. How do you react to people who don’t look or seem to act like you? Do you ignore them? Listen to them? Confront them?
When you walk outside in an increasingly diverse world, do you choose connection — or conflict?
In Disney’s SEA attractions, we see people choosing each — just as we have been seeing in communities across the country. I love the leadership that Disney has shown with its Splash Mountain decision. And I would love to see Disney continues that leadership, using all the creative assets it has — including the Society of Exploders and Adventurers.
