Simba Was Garbage: Chapter 3 Summary & Analysis

⚠️ Spoiler Warning: This guide contains detailed spoilers for the entire novel. Proceed only if you've finished reading or are comfortable knowing the plot.

Summary

In Chapter 3 of Black Nerd Problems, William Evans launches a provocative, humorous critique of Simba, the protagonist of The Lion King. While acknowledging the film as a Disney classic, Evans dismantles Simba’s hero status by highlighting his privilege, irresponsibility, and cowardice. He argues that Simba never earned the throne: he was reckless as a cub (leading to his father Mufasa’s death), fled the Pride Lands instead of facing consequences, abandoned his mother and Nala to Scar’s tyranny, and only returned when guilt-tripped by Mufasa’s ghost. Even then, Simba could have overthrown Scar earlier but chose the “Hakuna Matata” lifestyle with Timon and Pumbaa. Evans likens Simba’s reign to unearned privilege and suggests the Pride Lands need democratic reform. The chapter uses pop-culture references (Shyne, Kardashians, Hamlet) to underscore how Simba fails as a leader and a son.

Key Events

Evans states three baselines: Rafiki is reincarnated as a brother in Atlanta named Darius; “Can You Feel the Love Tonight” is nearly risqué; and Simba is “straight up landfill.”
He recounts watching the film with his daughter and feeling angry when the animals bow to Simba, a cub that never accomplished anything.
Evans compares Simba’s succession to Bad Boy replacing Biggie with Shyne, implying Simba is a weak replacement for Mufasa.
He describes the walk back from the elephant graveyard as reminiscent of a Black parent’s silent disappointment, but notes Mufasa was gentle.
He argues Simba is the “lion version of privilege and affluenza,” falling for Scar’s trap like a stereotypical mark.
He laments Mufasa’s on-screen death, noting Disney usually kills mothers, not beloved fathers, and forces the audience to watch the corpse for minutes.
Evans criticizes Simba for taking a “gap adolescence,” leaving his mother a widow and captive and Nala to fend for herself.
He highlights that Nala had to find Simba and reject his “Hakuna Matata” BS to force him home.
He lists best Disney heroes, placing Simba dead last after Mulan, Aladdin, Moana, Elsa, the mice in Cinderella, Lilo, and even Mulan’s father’s sword.
He argues Simba could have reclaimed the kingdom earlier once he had adult paws, and that the final coronation scene is undeserved—the animals should consider representative government.

Character Development

Simba: Portrayed as a static character who never grows. He starts as a reckless, entitled cub and ends as an entitled adult who only acts when forced. His “development” is really just finally using his physical strength after years of avoidance.
Mufasa: Presented as the “realest” Black father, respected but unable to prevent his son’s foolishness. His death is a tragic loss of a true leader.
Nala: Emphasized as the competent one who leaves the Pride Lands to find Simba and holds him accountable. She contrasts Simba’s cowardice.
Scar: The villain who exploits Simba’s naivety, compared to a drug dealer or a manipulative figure from Carlito’s Way.
Timon and Pumbaa: Cast as enablers who teach Simba escapism (“Hakuna Matata”) rather than responsibility.

Themes, Symbols, or Motifs

Unearned Privilege and Affluenza: Simba inherits kingship without earning it, akin to a trust-fund child. Evans compares him to a Kardashian or Confederate flag—iconic but undeserving.
Guilt and Avoidance: Simba’s survivor’s guilt after Mufasa’s death leads him to flee rather than face his role in the tragedy. The “Hakuna Matata” philosophy becomes a symbol of toxic positivity that ignores real problems.
Black Fatherhood and Legacy: Mufasa represents the Black father who has earned respect but cannot control his child’s poor choices. His death is a gut-punch because it kills a positive Black patriarch on screen.
Community vs. Individualism: Simba prioritizes his own comfort (backpacking with stoners) while the Pride Lands suffer under Scar. The chapter argues for collective responsibility.
Representation and Governance: The final image of all animals bowing to Simba is criticized as a failure of democracy. The chapter suggests the kingdom needs a representative system, not monarchy.

Why This Chapter Matters

This chapter matters because it reclaims a beloved Disney narrative through a Black cultural lens, challenging the idea that Simba is a hero. Evans uses humor, hip-hop references, and personal anecdotes to deconstruct a childhood icon, showing how media can reinforce privilege and complacency. He also highlights how Black audiences might read The Lion King differently, focusing on father loss, systemic neglect, and the cost of escapism. The chapter is a model of critical media analysis that is both entertaining and incisive, encouraging readers to question the stories they love.

Study Questions and Answers

1. According to Evans, how does Simba embody privilege and affluenza? Provide two examples from the chapter.
Evans argues Simba never earned his kingship—he was born into it. Examples: (1) Simba had no chores and constantly caused trouble without taking responsibility. (2) After Mufasa’s death, Simba fled the Pride Lands like he had “warrants,” leaving others to suffer while he enjoyed a carefree life, only returning when guilt-tripped.

2. Why does Evans compare Mufasa’s death to Optimus Prime’s, and what point is he making about Disney’s treatment of Black fathers?
Evans compares Mufasa’s on-screen death to Optimus Prime’s in the Transformers movie to show that Disney kills beloved father figures, which hits harder for Black audiences. He notes Disney typically kills mothers quickly, but making the audience watch Mufasa’s corpse for five minutes is especially traumatic. The point is that positive Black patriarchs are rare in animation, and killing one off-screen is a betrayal.

3. What alternative ending or political change does Evans implicitly suggest for the Pride Lands at the end of the chapter?
Evans suggests the animals should consider “representative government” rather than bowing to Simba. He argues that Simba hasn’t earned the crown, so the kingdom’s citizens should have a say in their leadership. The coronation is portrayed as a hollow ritual that ignores Simba’s failures.