‘Transhumanism is the world’s most dangerous idea’ (pp.1–2), at least according to American political scientist, economist, and writer Francis Fukuyama in 2004. This sentiment echoes a time when even Walt Disney and his ideas were considered the world’s most dangerous by German philosopher Theodor Adorno. Adorno was fascinated and concerned by Disney’s animations and how they influenced the cultural industry (especially after World War II), not only by luring people into mindless entertainment, but also by keeping them unmotivated and uninspired to pursue things that really mattered. During the rise of the Disney empire in America in the early to mid-1900s, the majority of the Western world suffered from world wars, colonialist consolidation and accelerating commodification which, according to Adorno, caused people to fall back into the very barbarism that civilization had prided itself in overcoming. It is against this historical backdrop that Adorno criticizes Disney’s culture industry and, more specifically, the ways in which it tried to justify self-numbing as a necessary price of self-preservation during these times of hardship, as opposed to uplifting or challenging people to think about ‘how life could be more than the struggle for self-preservation’ (Adorno, 2003). But regardless of these fears, this entertainment industry and its influences on culture and self-preservation have remained. The industry has increased its foothold in society while evolving to meet the needs and expectations of people and investors alike. What was once considered dangerous is now embedded in the fibres of every society.