The Disney corporation could have saved itself a possible million dollars on a study determining that its entertainment product must appeal more to boys, as Variety reported last week. For $145, Disney execs could have subscribed to the American Spectator. There, they could read numerous pieces by one Lou Aguilar urging them to steer away from their woke male-repellent course before their company ship hit the financial iceberg. It may not have struck the ice yet but it’s in mighty chilly waters, and the alarms going off have yet to be heeded. According to Variety, Disney players are now desperately seeking Intellectual Properties that will draw young males. In my article here more than three years ago, I praised the genius of company founder Walt Disney for continually developing masculine projects along with feminine fairy tales —  which ironically have more double-gender appeal than all their live-action remakes this century: Walt Disney enchanted girls of all ages with his reimagining of Snow White, Sleeping Beauty, Cinderella, and Mary Poppins, yet he also gave boys Captain Nemo (20,000 Leagues Under the Sea, 1954), Davy Crockett, Zorro, and Mowgli (The Jungle Book, 1967). Davy Crockett: King of the Wild Frontier (1955) became such a cultural phenomenon that it mandated a run on coonskin caps for baby boomer boys. That Crockett was a true American hero who fought Indians, corrupt politicians in Congress, and Mexicans at the Alamo makes him a liberal pariah today. The fact that Uncle Walt’s successors turned two of the most successful, iconic boy-friendly IPs of all time — Star Wars and the Marvel Comics Universe — into hideous feminist dreck has been well documented, also by me. And now they’re grasping for a Tarzan vine only because their jobs depend on it. But it’s too late for this generation of Disney players, hired primarily for their embracement of agenda over art, via the mechanism of Diversity, Equity, and Inclusion. For the new Disney directive to succeed, all of the above and their ilk have to go, and a traditionalist man be put in charge. Now telling them they need to attract young men is like asking them to fête conservatives. Not only do they fear and loathe the breed, they don’t speak the same language. For Disney girlbosses, the medium — television, film — is the message — feminism, progressivism. They validate the thesis of dead white male Marshall McLuhan without a clue of who he was. Today their message has been exposed as total bunk faster than they could anticipate, and their media narrative as incompetent, plus repulsive, to the hated audience they must win back. Last weekend, I sent a producer my just finished screenplay, Operation Cowboy, about an actual Soviet plot to assassinate John Wayne, because he was having too much success expulsing communist artists from Hollywood. Like the Disney leadership, Stalin understood the power of film to redirect minds away from traditional values — family, church, patriotism — to communism, having been inspired by Battleship Potemkin in 1925. He voices this in my script. “I first saw it at age fifty. A difficult time for me. Lenin had just died, and the Trotskyites were trying to take over the Party. I’d spent many sleepless nights pouring over the writings of Marx and Engels — hoping to persuade more allies to my side. Yet just two hours in a darkened theater put both those philosophers to shame. Providing the spark I needed to destroy my rivals.” Unlike any Disney output in recent memory, Potemkin is both great art and great propagandizing. And as much of a destructive lie as communism turned out to be, Eisenstein made the best case for it. For 100 years, the Odessa Steps sequence alone has rarely been matched in either artistry or emotional manipulation. Disney could manage neither. Feminism, transgenderism, and progressivism are also destructive lies, but the pantsuits’ conveyance of them repelled young men where Battleship Potemkin recruited them. So, there’s zero hope for male attraction by the current woke Disney players, from Co-Chairman of Disney Entertainment Dana Walden (Strange World, The Marvels, Ms. Marvel, [a series about a Muslim American teen superheroine]) and President of Lucasfilm Kathleen Kennedy (every Star Wars horror since The Force Awakens)  down to the inept filmmakers — Don Hall (Strange World), Nia DaCosta (The Marvels), Bisha K. Ali (Ms. Marvel),  Mark Webb (Snow White), Kathryn Hahn (Agatha All Along [heavy on the gay trans stuff]), and many others. All these also managed to repel normal girls, who had little interest in feminist and queer fantasizing. For the new Disney directive to succeed, all of the above and their ilk have to go, and a traditionalist man be put in charge. His first step will be to kill every male distancing project in the production pipeline. Let’s consider three through his eyes: Hoppers. A girl transfers her consciousness into a robot beaver to infiltrate the animal kingdom, teaming with animals to stop a greedy mayor. Decision — dead. Freakier Friday. A sequel to Freaky Friday (2003) focusing on multigenerational family dynamics and Anna’s role as a mother. Dead. Ahsoka (Season Two). Rosario Dawson as a female Jedi. It builds on Season. Very dead. Those would be replaced on the slate by three boy — and girl — attracting projects: The Knights of the Round Table, a series about King Arthur’s Knights being sent on missions throughout the kingdom, with the main three — Lancelot, Gawain, Percival — either alternating per episode or teaming up, faithful to the Arthurian concept of chivalry and maiden rescue. Young Hornblower, film one in a world-famous IP based on C.S. Forrester’s beloved Hornblower novels about a commander in the Royal Navy during turbulent times. Jake for Mayor, a movie based on my popular family-friendly novel about a cynical young campaign manager who finds his heart in the love of the dog he’s running for small town mayor.  Okay, so the last one’s a longshot, but it’s what they used to call Disneyesque, when the term still appealed to boys. READ MORE from Lou Aguilar: The Winter of Our Contentment The Empire Strikes Out on Canada Sydney Sweeney and the Babe Factor