Toy Story 4 Goes Rogue With Diversified Feminism

It took me longer to decide on the headline for this story, than it did for me to write the actual story.

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[This article contains spoilers for the film.]

~You don’t wanna miss the political diversity checklist & summarization paragraph at the end of this article~

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There were far too many aspects of this story that I wanted to fit up top, in order to catch more of the “headline only” readers out there.

So, to quote Sean Hannity, “buckle up”, because this story will be an extremely interesting and bumpy ride for anyone who lives outside of the far left insanity bubble.

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Here we go…

Yesterday afternoon, I was looking for a Saturday night family activity for me, my wife, and our two youngest kids.

On the cuff, I checked the listings for our local movie theater.

Toy Story 4 was playing for its 2nd week and the show started in 45 minutes.

We live approximately a 25 minute drive from the theater, so we strapped the kids into the car and headed into town.

I expressed to my wife, “it’s definitely going to be a sell out, so let’s hurry up and get there as soon as possible.”

We were so excited!

The original Toy Story had been released in 1995, when I was in high school and my future wife was in junior high. Though not quite still children at the time, we were still very nostalgic to the film.

Toy Story 2 came out when our eldest son, now teenager, was a baby. That film was obviously even closer to our hearts than the first.

Toy Story 3, released in 2010, came just in time to be a generational epic for our youngest daughter and son, who are now 8 and 10 years old.

It’s safe to say that The Toy Story Saga is most definitely an epic generational piece that fits quite well into our family puzzle.

That was until last night.

With our popcorn, soda & candy in hand, we sat down in the front row seats of our kids’ choosing, just as the movie was about to begin.

It couldn’t have been more perfect.

“I must confess… I thought it quite strange at first that we were only a handful of viewers in a theater built for several hundred people… especially on Saturday night of the second week of a family blockbuster release…”

Apparently, word had already escaped as to the extreme liberal politics that would come to kill this “should be” great film at its start.

The movie opened with a flashback that took place “Nine Years Earlier”.

The scene involved Little Bo Peep, a primary character from the original films as well as Woody’s presumed lifetime soulmate, as she was taken away in a box, to an unknown future away from the other toys.

My wife and I thought, “This is going to be good… they must be setting up for something great and exciting!”

After the movie flashed forward to the present, the new adventure began.

Everything was great until about thirty minutes into the film.

Then, Bamm!… They hit you directly in the face with their true agenda.

Sadly and pathetically, that agenda had nothing even remotely to do with entertaining our children.

That’s right…

Toy Story 4, the latest installment of a series of what could arguably be recognized as one of the most epic childhood movies of all time, went political.

They went more than just political… they went “Full Blown Feminazi”.

Identity politics at it’s finest.

I’m going to explain this all in detail and at the end of this story, I’ll include a link to a clip of the film that shows precisely what I’m talking about.

The film went from normal to rogue when Woody became reunited with Little Bo Peep after nine years of estrangement.

Though not confirmed with direct dialogue, the underlying message from the producers was more than obvious to anyone who can even remotely pick up on subtleties.

I don’t know why I’m even using the word subtle.

To quote, Very Fake News CNN’s “Worst Journalist Of The Year”, Don Lemon, “these weren’t even dog whistles… these were more like bull horns.”

The story went south for me, the moment that Little Bo Peep opened her mouth and began to introduce her crew of “Lost Toys”.

Bo’s voice, which was once soft, warm & feminine, just like the character was originally developed, had changed into that of a person who’s strong, harsh, unforgiving & independent.

After Woody asked her how she’d been, Bo replied with extreme enthusiasm and pleasure that she’d “Just had absolutely the best years of her life!”

The scene was set up to reflect on the comparison of bumping into an old boyfriend/girlfriend, years after a break up, only to have that ex-companion throw it in your face that they were finally in complete harmony after years of misery under your bars & shackles.

It was literally an in your face kind of slap to Woody right from the start and it only got worse…

Way worse.

Bo continued by introducing her new companion, a miniature “toy” named Giggle McDimples, or just “Giggles”.

Giggles is female toy and a cop, by profession, with a masculine voice and the “butchest of all butch” attitudes.

I could immediately see where they were going with this.

Little Bo Peep, after years of “freedom”, had turned full blown lesbian, and her new companion was a miniature, fist sized, butch lesbian “toy”.

Hopefully I don’t need to delve deeper into that detail for you to understand the producers underlying intentions for that match up, but I will say this…

It’s not even nearly appropriate for children.

After the disgusting introduction of Bo’s new little love toy, three more of her crew emerged into the scene.

They are three G.I. Joe figurines who displayed extreme Jarhead stereotypes of horribly low I.Q. with the most macho of all macho toxic masculinities.

The movie went on to completely cut down every male character as being nothing more than a stumbling, bumbling idiot, completely lost in life without a confident, level headed female to save them from utter disaster.

This male in-dominance aspect was incorporated into a pattern throughout the entire film.

They portrayed Woody, not as the hero, but the exact opposite. Stripped of his confidence from the opening scene, he followed Little Bo Peep’s dominant lead throughout the entire adventure.

As did Buzz Lightyear.

Buzz was given one opportunity in the film to do something heroic, and he ended up screwing it all up, only to be rescued by Bo’s leadership.

We are also introduced to several new characters, all clearly put in place to make a political statement, rather than to entertain the children & audience.

They gave us “Duke Caboom”, the Canadian motorcycle stunt man. He, like all of the other straight male characters, is a low I.Q. meathead who can’t think for himself without Bo’s guidance.

Upon his introduction, it was made clear that he and Bo had undergone a brief romantic relationship before she eventually turned lesbian.

Almost as if Duke was the straw that broke the camel’s back in convincing Bo that all men are stupid and that she should give up on them altogether.

As a matter of fact, the only male characters who were allowed to portray any sense of heroic nature, are the pair of stuffed animals who join the story as prizes at a carnival game booth.

They are a stuffed blue bunny and a yellow chick, sewn together by hand.

One with an African American voice and the other with a Latino voice, are perpetually holding hands throughout the adventure…

and it’s quite obvious that they’re intended to be gay life partners.

We were also introduced to “Gabby”, a 1950’s era pull string doll, not unlike Woody. Only Gabby had a defective voice box since she was made, and was therefore set up as “the would be villain” of the film.

Fitting their feminist diversity agenda, the producers made her the leader of her group as well, who were none other than several creepy ventriloquist dummies who followed Gabby’s every command.

Yes Sir, this should be childhood moral story, was transformed into nothing but another liberal political propaganda piece.

Toward the end of the film, I held a shred of hope that the producers would turn things all back around with some sort of noble traditional moral of the story.

Things got confusing for a few minutes when Bo began to show traces of nostalgia for her old life with Woody and the gang.

For a moment, with Giggles trash talking Woody, Bo got defensive, standing up for Woody.

I began to hold onto hope that they would reunite Woody and Bo for a lifetime together.

Well, they did and they didn’t.

They reunited them, but in a confusing way, riddled with mixed signals.

Woody left the gang for a free life as a “Lost Toy” with Bo and her gang, but it wasn’t clear that it was for a lifetime of love as a romantic couple.

They closed the movie with Woody and Bo playing together, more like friends than an actual couple.

And they closed out with Giggle McDimples, Bo’s personal “love toy” companion, perched right on her shoulder as always.

There were other examples of political diversity, and probably dozens more that I missed, as I was there for family entertainment, not a political lesson learner from a bunch of Never Trumper, liberal feminist producers.

But once the in your face Bo Peep lesbian unveiling, I found it nearly impossible to follow the story and became blindsided with the Feminazi Identity Politics.

For example, at the end of the film, Gabby, the once thought villain, antique doll, finally got her chance to unite with her first “kid”.

Every Toy’s Dream.

The scene unfolded as this…

Gabby spotted a little girl, alone and afraid, in the shadows next to the porta potties at the carnival.

Gabby decided to be the toy to help this little girl “save herself”, just by being there for comfort.

A great, wholesome moral to the story, right?

Well, it was…

Only until the producers had to throw their little political spin into that scene as well.

The little girl was portrayed with tan skin with a short, boy’s haircut.

Once she spotted Gabby sitting on the ground beside her, she embraced her and obtained the courage to emerge from her shadowy hiding spot.

The little girl then sought the attention of a carnival security officer. This security officer, was of course, a confident and independent female.

The film then cut forward to the parents. A Latino couple who were reporting their missing daughter to another security officer.

The second security officer, was of course, another confident and independent female.

Come to think of it, at the beginning of the film, when the original child character, Bonnie, attended her first day of Kindergarten, her teacher was also portrayed as a confident and independent female.

Very, very diverse indeed.

So, you might ask, why am I hung up on the fact that the closing character was a Latino Tom Boy, being rescued by female officers?

I must be a racist misogynist.

Much to the contrary.

My point is that, in this day in age, it’s become apparent that an author can no longer simply write a story to fit the story.

Apparently, a story must now be written to offer political diversity first, and plot line substance last.

Not a very artistic way to create.

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Political Diversity Checklist:

~Take all glory away from the lead male character… Check.

~Turn the traditional feminine character into a modern era lesbian… Check.

~Transform that lesbian character into the star of the film… Check.

~Turn every male character into a stumbling, bumbling idiot… Check.

~Invent & incorporate a gay couple into the mix to meet political correctness… Check.

~Focus on an ethnically diverse, non-White family to close out the film… Check.

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Summarization:

A once great, possibly greatest of all time, iconic childhood/family time story has officially been gutted to it’s core, and transformed to meet current day liberal political agendas to please the far left…

Everybody else can go screw themselves.

Well done, indeed.

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I’ll close this article by saying this…

If gender diversity and identity politics are to become the future of entertainment, then they will become the demise of said entertainment.

Liberal political correctness has certainly destroyed Hollywood and it’s currently on a direct path to destroy worldly art altogether if we don’t wisen up.

Because, as for right now, just in time for it’s 25th anniversary to the world, The Toy Story Saga, has just fallen prey to such madness.

If we don’t correct this…

If we don’t stop the Hollywood elites from incorporating their liberal politics into our favorite films, that industry will go from endangered to extinct.

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I’ve published the link to a clip from Toy Story 4 that shows a portion of what I’ve just discussed. The link is copied to my previous Toy Story 4 post. I invite you to watch and form your own opinions.

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Opinions by Ryan A. Murphy

June 30th, 2019

“Take It Or Leave It.”