If you’ve been watching any significant amount of Disney content over the past few years, there’s a question that’s probably crossed your mind at some point. As you gazed upon the two lesbian mothers in the kids’ show “Young Jedi Adventures,” or the nonbinary Jedi in “Tales of the Empire,” or the gay kisses in “Lightyear” and “Rise of Skywalker,” or the communist lesbian witches in “The Acolyte,” or the prominent trans character in “Baymax,” or the nonbinary “Lake” character in “Elemental,” or the gay moment in “Endgame,” or the purple gay cyclops police officer in “Onward,” or the first-ever biracial gay cartoon character in “Strange World,” you may have caught yourself thinking: What the hell is going on inside this company, if this is what they’re producing as entertainment for tens of millions of people? How dysfunctional are the inner workings of Disney, if they’re so fixated on sexuality and race that they have to ram so-called “marginalized” identities into every orifice of their films and streaming shows? What would it be like to actually work at a place like this?
We don’t have to ask those questions anymore.
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