It takes a long time to turn around a large ship — sometimes fatally long — as were five minutes aboard the RMS Titanic on the night of April 10, 1912. Her lookout Frederick Fleet spotted the deadly iceberg at 11:35 PM and had enough time to ring the alarm bell three times and phone the bridge. “What did you see?” asked Sixth Officer James Paul Moody. Fleet responded with the immortal chilling words, “Iceberg, right ahead!” Moody alerted First Officer William Murdoch, who ordered “hard-a-starboard” (left turn) and the engines reversed. The ship started to swerve but too late. At 11:40, the starboard side scraped a submerged piece of the iceberg that rapidly sunk the Titanic. The timespan provides the most gripping sequence in James Cameron’s melodramatic 1997 epic, Titanic.

It also serves as a perfect metaphor for the current state of American culture, which has begun to slowly shift the country from disaster. The alarm bells have sounded, and more people are heeding them now. Although the zombie crew refuses to change course, a mutiny is underway, led by brave, good artists, turning the American ship hard-a-port, or to the right. And if politics truly is downstream from culture, as Andrew Breitbart said, and I believe, the ship of state may be saved. But the turnaround time is short. I would say before November 5, 2024 — Election Day.

Politics is indeed grim. Donald Trump continues to lead the Republican field by a wide margin despite overwhelming independent opposition and no change in the factors that caused his 2020 defeat. Evidence mounts on the corruption of Joe Biden and his Department of Justice. Last week, the DOJ flaunted its contempt for the American people by appointing the man behind Hunter Biden’s aborted “sweetheart deal,” David Weiss, special counsel in the Hunter probe. (READ MORE: Are the Bidens a Crime Family?)

And Ohio voters soundly rejected a proposal requiring  a supermajority to amend the state’s constitution ahead of a pro-abortion maneuver. Republicans will continue to lose on the abortion issue for as long as they minimize it or refuse to fight against it. Even Ron DeSantis, who courageously signed a bill banning abortions after six weeks in Florida, has been rather inexpressive on the subject. The left turned the murder of babies into a woman’s right cult, disregarding the vast number of women who abhor and oppose the infamy. It’s past time for rightist politicians to speak decisively for the innocents being slaughtered.

Yet in the culture, the tide has turned, beginning with the usual suspect, Woke Disney. Last week the Mouse House shot off danger flares as blatantly as Uncle Walt’s creation once did fairy lights. Ironically, Disney had previously made a corrective move due to audience revulsion at its product, “ousting” Chief Diversity Officer and Senior Vice-President Latondra Newton. Newton was credited — more discredited — with overseeing Disney’s suicidal rush to inclusivity at the expense of tradition and legacy. Her removal came after four major woke bombs: Lightyear — lesbian kiss; Strange World — gay romance; The Little Mermaid — black girl replacing beloved white cartoon icon, neutering of male lead; Elemental — first “non-binary” character; but not before the greenlighting of Disney’s biggest imminent disaster, Snow White. (READ MORE: Rachel Zegler’s Contempt for Snow White Reflects a Culture That’s Forgotten Fairy Tales)

The production was already rightly mocked for casting a brown Latina as the invariably white princess (“with a skin as white as snow … and she was named Snow-white.” — the Brothers Grimm), eliminating the Seven Dwarves in favor of Renaissance Fair rejects then lying about it, and emasculating Prince Charming. But Snow White just added more audience repellant, when the obnoxious starlet playing her, Rachel Zegler, derided the original 1937 classic, and called the eternally beloved Prince Charming — by generations of girls — a stalker.

“The original cartoon came out in 1937 and very evidently so (sneering laugh),” Zegler told Extra.

There’s a big focus on her love story with a guy who literally stalks her (sneering laugh) — weird, weird. So we didn’t do that this time … We have a different approach to what I’m sure a lot of people will assume is a love story just because, like, we cast a guy in the movie … It’s one of those things which I think everyone will have their assumptions about what it’s actually going to be, but it’s really not about the love story at all … All of Andrew’s (Burnap — the “prince”) scenes could get cut. Who knows? It’s Hollywood, baby.

And in Hollywood, that breaking glass sound you hear is more Disney executives jumping out their office windows after this interview. But Disney is not the only entertainment company discarding woke-crusader bosses like Latondra Newton. Last week, the Hallmark Channel removed Wonya Lucas as Hallmark Media CEO. Newton helped transform the once unrivaled venue for wholesome anodyne Christmas movies into an LBGTQ-plus Halloween scape. The move prompted two Hallmark luminaries — ex-CEO Bill Abbott and producer-star Candace Cameron Bure — to turn the rival Great American Family network into a Christmas movie institution at the expense of Hallmark. (READ MORE: I Wish We’d Been Wrong on Disney)

Rounding up the countercultural victories for the week was the meteoric appearance of one Oliver Anthony. A no-budget video of Anthony solo in the Virginia woods playing his guitar and singing his protest country song, Rich Men North of Richmond, went nova viral overnight, and resonated with the frustrated, ignored working-class public sick of hostile corporate crap like Disney’s. Country star John Rich has offered to produce an entire album of Anthony’s songs. Sensing another dangerous blow to the liberal world order, its Pravda, Rolling Stone, desperately went on the attack, labeling Rich Men North of Richmond a right-wing screed. But it’s really the latest turn away from the destructive liberal iceberg ahead, and toward victory in 2024.