Timed for the Independence Day holiday, Hamilton is being re-released on Disney+ as the latest effort in the highly politicized Disney corporation’s program of indoctrination through culture. This time it’s a sing-along version of the hit musical. Disney’s promotional campaign encourages viewers — families, no doubt — to sing “the most complicated verses from the musical by following along with the on-screen lyrics as they watch the film.”

This publicity stunt is so close to the Pledge of Allegiance recitation, formerly mandated in public schools though no longer a patriotic routine, that it suggests an attempt by Hamilton’s hustlers to replace that traditional pledge.

Think back to Barack Obama’s 2008 campaign promise to “fundamentally transform” the United States. That threat inspired author-composer-performer Lin-Manuel Miranda’s Hamilton concept. The show transformed a legend from American political history: how the vibrant political career of Treasury Secretary Alexander Hamilton was cut short by his death in a duel with envious competitor Aaron Burr, a tale that became a reflection of American ambition and violence. Its Millennial presentation added a cynical diversity pageant.

Miranda shrewdly calculated a celebration of Obama’s presidency by twisting the troublesome fact of Obama’s biracial background into the popular but erroneous notion of his blackness. (Miranda, of Puerto Rican descent, himself portrayed the title role, further complicating the enigma.) Hamilton’s multiracial cast of nonwhite performers playing white historical figures indicated the demographic “browning” of contemporary America — a theatrical version of a cultural revolution.

Now, Miranda’s kitsch — a juggernaut on politically progressive Broadway that became a must-see for celebrities and Beltway politicos, whose attendance was a kind of rite — is part of Disney’s ongoing political maneuver. Hamilton’s ersatz hip-hop song score not only subverts Francis Scott Key’s “The Star-Spangled Banner” but does so through a subcultural idiom that Miranda imitates poorly, though to the admiration of hip-hop-phobes.

Hamilton is among those recent Broadway shows that fail to achieve mass popularity — no Hamilton song ever topped the streaming charts. When Disney+ first premiered its “film” version of the original Broadway production on July 4 three years ago, viewership hardly went beyond a New York–D.C. coterie. Yet this decidedly unpopular movie won’t go away. It is constantly pushed upon the public in the same offensive manner as the rhetoric accompanying the Left’s race and gender movements.

This sing-along reboot follows Disney’s practice of resuscitating animated films such as The Lion King, Beauty and the Beast, The Little Mermaid, Encanto, Moana, Tangled, and Frozen. But the terrible idea of debuting a Hamilton sing-along prior to Independence Day could only come from antipatriotic dissidents. It promotes progressive discord just as a dictator commands forms of public behavior — a forced march.

Hamilton’s best-known songs, “The Schuyler Sisters” and “The Room Where It Happens,” were favored by opponents of the last administration, so the show’s political biases cannot be denied. In the latter tune, the cast sings “Maybe we can solve one problem with another / a quid pro quo.” The point stressed is chicanery, congratulating political shenanigans, not the forefathers’ wisdom. It celebrates power and ruthlessness, not virtue.

Miranda is not a hip-hop artist but represents a new breed of politicized Broadway hack and has turned hip-hop against its origins. Hamilton is not patriotic like The Music Man or 1776. It’s a regime-change show where clever cynicism prevents people from examining their own motives. Only an aspiring pundit or government operative would want to sing along to “The Room Where It Happens.”