Essay
America
Church and state
Conspiracy theory
Culture
6 min read

Disney at 100: The Magic Kingdom's simulation of modern life

Disney is more than a mouse and entertainment. Theologian Jared Stacy dissects how the Liturgy of Disney reflects modern America in all its contradictions.

Jared holds a Theological Ethics PhD from the University of Aberdeen. His research focuses conspiracy theory, politics, and evangelicalism.

A statue of Walt Disney holding hands with Mickey Mouse in front of Cinderella's Castle
The Magic Kingdom of Disney.

Walt Disney once said, “remember, it all started with a Mouse.” An incredible fact considering that after a century of Disney, it is impossible to describe and interpret our modern world without mentioning Disney, the Christian church included. Once, Disney came up during an interview I took for a pastoral role at an American megachurch. Those with experience in low church American contexts won’t be surprised at what comes next.

During the interview, the church’s creative director casually mentioned taking his entire creative team to Disney World. It hadn’t been a pleasure trip; church employees toured Disney’s backstage creative department for inspiration they could bring back to the church. For this church, the Disney company – its vision and practices – was an index for its own. 

Now, my hunch is this little anecdote will offend the sensibilities of readers who are practicing Christians in high church traditions. I might also guess it will equally offend secular readers who see Disney as the archetype of corporate greed, pushing glib, crass sentimentalism as art. Christian readers might share some of these criticisms as well. Together this is what, back in 2001, sociologist Alan Bryman recognized as the ‘Disneyization’ of society.

Disney... is not a purveyor of morality, but of product that must (like any good neoliberal agent) sail with the prevailing winds of market-based morality.

Disney In the crosshairs  

Bryman’s work demonstrates how most criticism of Disney tends to expand into criticism of modern life itself. . Walt Disney himself dedicated Disneyland at its opening in 1955 with the words: 

 “this park is dedicated to the hard facts that made America.”  

To talk about Disney and the modern world is ironically enough to talk Walt at his word. It means reflecting on modern America and globalization, and the economics, aesthetics, ethics, and politics which characterize it. 

I have more to say about this. But first, we need to tackle just where Disney sits today in the social and political moment.  

Disney today finds itself in a familiar position: fixed in the crosshairs of US conservatives waging the culture war. (Ironically, both culture war and Disney are some of America’s prime exports.) But Disney today is as wise to the market as it’s ever been. It is not a purveyor of morality, but of products that must (like any good neoliberal agent) sail with the prevailing winds of market-based morality. 

Disney promotes prevailing values domestically and does the same for values of the Chinese Communist Party internationally. For example, in its Stateside parks, Disney recently decolonized or altered some of its attractions. It re-themed Splash Mountain attraction, a water ride based on Walt Disney’s Song of the South film. The 1949 film is banned on Disney’s streaming platform. It traded in racist tropes and revisionist historical propaganda (often called the 'Lost Cause') which originated in the American South after the Civil War. Disney also altered a scene from the Pirates of the Caribbean ride which depicted women as victims of sex trafficking.  

These are surely good changes. But conservatives tend to categorize these changes, together with LGBTQ inclusivity efforts, under the appropriated phrase ‘woke’. Armed with a weaponized slogan, vapid reactionaries continue to influence popular sentiment on Disney. Meanwhile, Disney CEO Bob Iger met with the US Government’s House select committee on China. To discuss Disney’s censorship practices and production in the Chinese market.  

To talk about Disney in the present, immediate sense is to (among other things) grapple with the political power of corporations, the moralities that sustain market practices, and the formative power of binge-watching on human beings. But what about Disney in the broader sense? The Disney that is a window into the (failed) promises of modernity? These are promises and possibilities that continue to haunt us as well as shape us.

I can find no better word to describe Disney’s parks. Liturgy, both in the Greek and Christian sense, speaks to how the parks provide a public service and fuel a religious experience.

The “Liturgy” of Walt Disney  

At the end of his life, Walt Disney had more in common with Elon Musk than JK Rowling. He was more obsessed with harnessing technology in service of “progress”. His ultimate dream (called EPCOT or Experimental Prototype City of Tomorrow) was envisioned as the sum total expression of his theme parks. Disney wanted to take all the lessons of Disneyland and redirect them towards the construction of a permanent, liveable World’s Fair expo in the backwater of Florida’s swamps.  

But EPCOT today is something of a simulacrum. It houses a World Showcase where you can stroll the streets of Paris, Piazza San Marco, or a Mayan pyramid that houses a water ride. Disney even hosts student worker programs to ensure that if you order fish and chips in its England, you will be served by someone from York, Surrey, or Manchester. But this is not what EPCOT was supposed to be. Walt envisioned it as a real time, fully functioning “city of tomorrow” where all the best and brightest of American Post-War technological might and efficiency would make the human society something called “better”. In short, EPCOT was Disney’s public works project.  

The ancient Greeks had a word for projects like this: “liturgy”. The English word comes to us from combining the Greek noun for “people” leitos or laos with the Greek verb for “working” ergos. Nowadays, we tend to associate liturgy with Christian tradition, particularly the external rites and forms of worship for the church. But the idea of Christian liturgy emerged from this Ancient Greek practice of private financing of public projects. George Tridimas  shows how these “works for the people” were originally a Greek form of politics. To the Athenians, liturgies were a symbiotic practice: the wealthy elite competing for the honor and power associated with a project, while each project served everyday citizens of Athens.  

I can find no better word to describe Disney’s parks. Liturgy, both in the Greek and Christian sense, speaks to how the parks provide a public service and fuel a religious experience. They are a public works project that continue to shape the American consciousness, directing its worship, which is inevitably exported too, through the medium of culture. If you doubt the religious factor of the parks, ask again why a church might find itself believing a tour of Disney serves its task of Christian proclamation and formation. This isn’t just crass entertainment, but a profound (yet often uninterrogated) influence.  

The parks exist as an inhabitable space that suspends the contradictions of modern life and actually resolves them in a simulated fashion. 

This is why I think Disney biography Neal Gabler puts his finger on the essence of Disney’s parks. He argued that the parks aren’t successful because they provide an 'escape' from reality, but because they provide a ‘better' reality than the one outside. In this sense, the Disney imagineers don’t just tell good stories, they master physical space. The parks continue to attract guests the world over not because of popular franchises, but because,as a public works project, the entire parks experience is a high-control, surveiled effort to provide public efficiency, thematic immersion, crowd control, transportation—all of it.  

The parks exist as an inhabitable space that suspends the contradictions of modern life and actually resolves them in a simulated fashion. To treat the parks as a tasteless venture into plastic sentimentalism obscures how the parks attempt to satisfy, at nearly every turn, the modern contradictions that shape our human experience. To say this experience is a religious one would not be far from the truth, the Athenian liturgy and Christian liturgy converging into one.  

This is one reason why, however tragic it may be, churches in America continue to emulate Imagineers. The architecure of churches constructed within and without Christendom have communicated transcendence. And in spite of America’s embrace of Protestantism, we should not be surprised that American Christian traditions continue to emulate Disney’s mastery of physical space in the key of modernity. I understand criticisms of all things Disney, from parks and art to economics and adult Disney fans. But the parks are a liturgical experience, both in a religious sense and in a public sense. To understanding the staying power and influence of Disney means grappling, at a human level, with the park experience as a simulated resolution of modern life, rather than an escape. 

Review
Belief
Books
Creed
7 min read

Alice Roberts’ new book is the Da Vinci Code without the pretence of fiction

Tomes like Domination are part of the problem of public discourse about Christianity, not the solution
A head and shoulder image of Alice Roberts against a purple background
Alice Roberts.
alice-roberts.co.uk.

Alice Roberts would like you to read her book, thank you very much.

She recently took to X to bemoan the “epidemic” of people offering thoughts about her latest offering, without actually having read it. The person who prompted Roberts’ exasperation was a senior lecturer in Biblical Studies and the latest in a long of professional scholars of Christianity who had greeted the release of the book with little more than a weary eyeroll. 

The reason so many people felt as though they didn’t need to read it is because it is utterly predictable. Even a cursory glance at any of the marketing that has accompanied the publication of Domination: The Fall of the Roman Empire and the Rise of Christianity really does tell you all you need to know. It really is the book you think it is. 

You already know what this book is going to argue. Just like you already know how this review is going to go. I’m a theology lecturer who works for the Church of England; Roberts is an outspoken atheist and former president of Humanists UK. Of course I’m going to disagree with this book. It’s hardly the sort of plot twist you endure an M. Night Shyamalan film for.

But, for the avoidance of doubt, let me be clear: I don’t dislike Alice Roberts’ book because I’m a Christian and she’s not. I dislike Roberts’ book simply because it’s not very good.  

Roberts seeks to “lift the veil on secrets that have been hidden in plain sight.” (Always be wary of someone who claims to have noticed something no-one else has for the last 2,000 years). These ‘secrets’, she suggests, are that “the main reasons [Christianity spread so successfully] were not to be found in the pages of the Bible, but in a powerful alliance born of complex – and very human – incentives”.  

For Roberts, the central, overriding reason why Christianity flourished was simply economic and political power. In her own words, “the worldly aspects of the Church are undeniable. Wealth and power go hand-in-hand, and the Church had both in abundance.” It’s never clear who actually is thought to be denying this, except a vague group described as “apologist historians (including some who claim not to be Christian, but seem to be suffering from some kind of Stockholm syndrome) and theologians”.  

And this power-grab has been the aim since the earliest moments of the Church’s existence. The Apostle Paul is painted in cartoonishly Machiavellian tones: “As a Pharisee, a member of an established Jewish sect, Saul would have been a small fish in a big pond. The switch to this new breakaway sect [Christianity] would make him a prominent figure in a small but rapidly growing movement”. 

A few pages later – in a section that made me laugh so hard I had to put the book down for a few minutes to collect myself – Roberts offers a genuinely baffling reading of one of Paul’s early letters, to a group of Christians in the city of Corinth. In the letter, Paul speaks about divisions in the Church, with Christians claiming to ‘follow’ different leaders (such as Paul and Apollos). Roberts writes that “there’s a hint that Paul may have viewed Apollos as competitor” and continues: 

“When Paul wrote his first letter to ‘the Corinthians’ … he exhorted them to see themselves as united, whether they were following him, [or] Apollos … Paul, however disgruntled he might have been about the competition represented by other, potentially more eloquent, preachers, had decided it was best to team up. Still, he couldn’t quite resist suggesting his superiority – or at least, his priority – to Apollos: ‘I have planted, Apollos watered.’”. 

See?! SEE?! It’s all about power!! 

Well, that last bit is a quote from Paul’s first letter to the Corinthians, the third chapter and its sixth verse. Now, what Roberts doesn’t tell the reader is that she has left off the rest of the verse, and the verse that follows. “I planted, Apollos watered, but God gave the growth. So neither the one who plants nor the one who waters is anything, but only God who gives the growth.”  

But this is very different indeed to the impression Roberts gives us. Paul is quite clearly not claiming any sense of superiority over Apollos. No, he claims they’re both nothing, and that God alone deserves credit for anything good done by either of them. Not that you would know this from Roberts’ butchering of biblical texts.  

(As a slightly technical aside, the bit Roberts does quote should read ‘I planted,’ not ‘I have planted’. This sounds trivial but in the Greek text, Paul writes in a different tense than the one Roberts translates it as. This made me wonder what translation of the Bible was using or whether it was her own. However, there are no notes in the book. At all. And no mention of Bible translation that I could find. If we’re engaging in character assassinations of folk no longer alive to defend themselves, we might think that attention to the precise wording of their thought might be important. Apparently not). 

And there’s the rub. Roberts leave precisely zero room for earnest belief in God. Not her belief in God, obviously, but that the people whose words she has hacked and placed before us might earnestly think that their actions seek the betterment of those around them because of their belief in God. No. It’s all about power. I’ve highlighted her treatment of Paul in particular (again, because I found it genuinely hilarious), but time would fail me if I tried to recount all the ways that other figures in Church history are treated similarly. 

Roberts’ has complained about Frank Cottrell-Boyce (whom, she notes, is “a Catholic” as though this is in any way relevant to whether he’s right) for describing Domination as ‘cynical’. But how else could we possibly describe this? Yes, it is – of course – completely reasonable to highlight the social, cultural, political, and economic forces at work in and around the development of Christianity (is anyone actually suggesting otherwise?). And yes, of course some people have used Christianity for personal gain (seriously: is anyone actually suggesting otherwise?). 

But Roberts goes far beyond both points. Instead, she is simply stripping back the theological content of Christianity and claiming to have found “secrets that have been hidden in plain sight” having done so. But of course human motivation is all that is left once you strip belief in God out of religion, because what else could there be? Roberts’ prose may be captivating, but her argument is deeply immature and reductive. It’s like a toddler who’s just read Michel Foucault’s work on social power for the first time: an impressive toddler, to be sure, but a toddler nonetheless.  

Roberts does acknowledge that “people are complex, human societies are complex”, but this is little more than lip-service to nuance. None of this complexity is found in the actual argument of her book. It reminds me of someone saying, “no offence, but …” before going on to say something deeply offensive. A fleeting caveat doesn’t redeem a simplistic argument. 

In this respect, it’s quite telling that the front-cover endorsement comes from Stephen Fry who describes it as “a historical thriller of the highest quality.” In one respect, he’s not wrong. It reads like a thriller and – questions of content aside – might easily grip read readers with its compelling prose and rhetorical flourishes. But that’s because this is The Da Vinci Code without the pretence of fiction. A compellingly told conspiracy theory dressed up in just enough spliced-together reality to feign plausibility.  

Public discourse about religion and faith is too often conducted with a sneering cynicism that seeks to ride roughshod over the sincerely held beliefs of actual people who would actually describe themselves as religious. Books like Domination are part of the problem, not the solution.  

Maybe this is why I find Domination bordering on offensive. Not because of its content. (If I got upset every time someone ascribed bad motivations to the Church I’d never leave the house.) No, I find it borderline offensive because of its sheer existence. Whether you like it or not, religion has been and is an irrevocably vital part of who we are and where we’ve come from. Religious belief deserves at the very least to be understood, even if not agreed with. And so, when I finished Domination, I was left wondering: is that is? Is this the highest standard of discourse society can really be offered about religion? Dan Brown in an academic gown? Heaven help us, if so. 

The covers may be similar, and the titles may sound alike, but this is not Tom Holland’s Dominion. Where Holland’s work remains one of the most insightful and thoughtful accessible books about the development of Christianity and modern society, Roberts’ cynicism (for that is what it is) is both tiresome and tiring. (Moreover, that Holland’s book is not even mentioned once speaks volumes about Roberts’ work. That Roberts insists she has read it only makes that absence more baffling). 

The Church deserves more rigorous champions of atheism to scrutinise its belief; society needs a better class of conversation about religion and its role in our history. I fear Alice Roberts is not the former; Domination is certainly not the latter.  

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief