In the last episode of Seinfeld, Jerry, George, Elaine, and Kramer watch an overweight man get robbed in a small town in Massachusetts. Kramer videotapes the incident. Rather than to anything to help the overweight man, the four friends make jokes about the victim, in particular the victim’s weight. He’s not part of their circle—their sophisticated, ironic, well-to-do, elite circle—and so he’s an “other” to be mocked and ridiculed, even as he’s being violated.
Compare this to the reaction from leftists whenever there’s violence directed at Republicans in general, Trump supporters in particular. There is ridicule. There is derision. There’s attempt after attempt to not just rationalize the violence, but to justify it. As Symone Sanders said on CNN while watching a notorious clip of a white Trump supporter being pulled from his car and beaten by leftists, “Oh my goodness, poor white people.” This is remarkably similar to the reaction of Jerry et. al seeing the overweight man get mugged:
Do you remember the reaction to the final episode of Seinfeld? It was heavily criticized, to the extent that it still bothers Larry David. A big part of the backlash against it was that the socially elite tastemakers—the magazine writers and newspaper “journalists” who lived in New York and LA and saw a lot of themselves in Jerry and his friends—couldn’t take being satirized in this manner. The final episode of Seinfeld showed that the self-absorption and narcissism depicted on that show wasn’t “funny” or “cute.” Those characters were never characters to be emulated (especially after Susan Ross died and the friends casually and callously just accepted her death and went out for coffee), but to be abhorred. They were object lessons, not aspirational figures. And in the final episode we saw depicted the end result of that self-absorption: The inability to empathize with a victim of a violent crime, even while watching that crime occurring.
The final episode of Seinfeld was painful satire. Critics panned it because it was satirizing them—it wasn’t satirizing the overweight man from flyover country (literally—the only reason Jerry, George, Elaine, and Kramer are in Massachusetts is because their plane malfunctioned and they had to make an emergency landing) being victimized. So it was viciously attacked. It was a disappointment. It was the worst series finale of all time! In fact, it set a dangerous precedent, and the reaction was a sort of warning shot. No matter how popular, rich, and famous you are—if you satirize the New York and Los Angeles elites in the mainstream legacy media they will come after you.
On June 9 in Austin, Texas at something called the ATX Television Festival, a collection of TV producers and writers got together to whine about the fact that they can’t accept that the hopelessly corrupt, lying, felonious, Hillary Clinton lost the presidency. Trump is basically making them cray-cray, and they’re just having a heck of a time concentrating on their privileged, glamorous, and high paying TV and movie jobs.
“How can I possibly focus?” said Javier Grillo-Marxuach (Lost). “There’s a lot of stress eating involved … more than anything else, the torrent of news and information is about the stuff you do to mitigate your stress to be effective.”
Please bear in mind that these are the same people who want coal miners to just shut up and take it when their jobs are being stripped away, and want low-skilled, low-educated workers to just graciously accept the influx of low-skilled illegal immigrant workers competing for their jobs, and who want IT professionals to train those who come into the country on H1-B visas to replace them in their jobs. That kind of stress... is racist.
Beau Willimon (the creator of House of Cards—the American version, not the original British version) shared this insight, also apparently without any hint of irony:
“We have a president who has never known what it means to hold a real job and to struggle … I think some stereotypes are true — Hollywood does lean left — but ask yourself why it does … artists are people who read a lot … who are curious about the world and when you write you’re imagining what the world could be, for better or worse…and that’s what being ‘in touch’ is all about … the only way our president attempts to do that is at 140 characters or less.”
This attitude that artists lean left because they read a lot and they’re curious about the world is pervasive self-aggrandizing pandering. Maybe they do read a lot—Salon.com, Huffington Post, CNN.com, vox.com, Daily Kaus—but does that mean that they’re satisfying “curiosity” about the world, or they’re reinforcing their own prejudices?
If you read the article from which I took the above quotes you’ll see small-minded bigotry masquerading as well-rounded insight. This is a trick of leftists—claiming for themselves one mantle, while projecting their own worst characteristics on their “enemies.” For people who claim to be “in touch,” they are remarkably and almost proudly ensconced in their provincial bubble, telling themselves that Trump is evil, that his followers are evil or at best stupid, and that they are enlightened and have to imagine what the world could be. Willimon says “for better or worse,” which would tend to suggest that he strives for realism or at least authenticity in the art he’s helping to create. But is he really—and does that apply to all popular artists? Or are they just creating stories to tell themselves, and those fatties in flyover country can like it or lump it?
The in-touch, well-read leftists who create the Comedy Central show “Broad City” are showing their enlightenment by literally denying the existence of reality.
"There's no airtime for this orange (person)," [co-creator and star Ilana] Glazer says. "We bleep his name the whole season."
Broad City is turning Trump’s name into a profanity to be bleeped. The Online Etymology Dictionary defines “profane” in this way:
mid-15c., "un-ecclesiastical, secular," from Old French (12c.) and directly from Latin profanus "unholy, not consecrated," according to Barnhart from pro fano "not admitted into the temple (with the initiates)," literally "out in front of the temple," from "before" (from PIE root *per- (1) "forward," hence "in front of, before") + fano, ablative of fanum "temple" (from PIE root *dhes-, forming words for religious concepts). Sense of "unholy, polluted" is recorded from c. 1500.
It is fantastically appropriate that leftist entertainment is making “Donald Trump” an “unholy, polluted” word, because leftism shares so many attributes with religion. It’s a belief system based on faith, not on facts. (There's a lot more evidence for the existence of God than the "wage gap," for instance.) It has its holy texts which are read by those who are “in touch” and “read a lot.” Its adherents have to believe in all its tenets no matter what—or they face excommunication.
Speaking of excommunication, look at what’s happening to Laci Green, the sex-positive feminist YouTuber who had been a beacon of leftism for several years. Then something happened.
First, she notoriously sent out these two tweets, within a few hours of each other, the night of the presidential election:
I suspect that the reaction to those tweets and the outrageous hypocrisy that they displayed caused Green to do some actual soul-searching. She began reaching out YouTubers who were critical of her positions on certain issues, and found, to her surprise, that people could still disagree with her without being racist, sexist homophobes. She actually befriended some of these people.
For this “unholy, not profane” attitude, the mob of Twitter leftists demanded that she be cast out from the initiates. She faced a barrage of hateful, misogynist criticism—from the “in touch” and “curious” people who claim that they are fighting against misogyny and hate.
As I’ve said, projection is another aspect of leftism. Back to Broad City:
But the inclusive comedy hasn't been afraid to get political in the past, even inviting Hillary Clinton on for a brief guest spot last year in an episode where Ilana pledges to campaign for the then-presidential hopeful. One episode, which premiered at Colossal Clusterfest in San Francisco earlier this month, deals with the idea that "a witch is really just a woman who's in touch with her womanhood," Glazer says. "Ilana's 'powers' are decreasing during the current administration because it's just so hard to (orgasm) when you know so many people are in such danger. So Ilana works through her Trump-related (hang-up) and it's wild."
This is a show which featured an embarrassing, fawning cameo appearance by the charmless and felonious Hillary Clinton, the most corrupt presidential candidate in history—yet one of the characters on the show can’t orgasm because people are “in such danger” because of He Whose Name Shall Be Bleeped? Was Ilana able to orgasm while Hillary Clinton was using the Haitian earthquake to line her own pockets? How was her sex life when Hillary Clinton destroyed Libya?
My suspicion is that the people “in such danger” that Glazer is referring to are TV writers who are having such a hard time getting it up creatively. For a show that’s described by the “journalist” who wrote the story as “inclusive,” it seems to be displaying remarkable small-mindedness and bigotry.
Broad City isn’t the only cable show that will be taking a “brave” stand by towing the ecclesiastical Hollywood line. The next season of American Crime Story, The Assassination of Gianni Versace, is going to be a “bracing cold slap” (not just a cold slap-- a bracing cold slap, which is the worst kind of slap!) against He Whose Name Shall Be Bleeped:
“I think it does open a discussion and I think it’s the perfect timing based on this president we have,” says [creator Ryan] Murphy. “One of the reasons I wanted to do this was I felt that Obama was a president who I revered. He was my president. I felt there was so much progress in terms of gay rights and rights for any marginalized group of people. Suddenly, it felt like Trump is inaugurated and the door closed and there’s fear again and they’re trying to take away everything that we fought for for so long. This is a bracing cold slap against the policies that the current government has. We celebrate gay people and gay creativity. So I think it’s the perfect time to put that on.”
Kudos, I suppose, to Murphy for saying Trump’s name. But beyond that: Obama, the president that he “revered” was re-elected in part thanks to his stated opposition to gay marriage. He was a cold, calculating, cynical opportunist who used gay rights as a wedge to divide people—taking their money for his re-election campaign then turning his back on them. Trump was elected as a champion of gay rights and gay freedom. He got a standing ovation from the Republican national convention audience for specifically pledging to protect members of the LGBTQ community. Peter Thiel was a featured speaker at that convention.
Oh, but Peter Thiel isn’t one of the good gay men, is he? That’s the leftist attitude: if you don’t behave as you’re supposed to then you’re fair game, and if you’re a member of one of those “marginalized group(s) of people” then you’re in for particularly vicious, hateful attack. Language decried as “homophobic” will be gleefully employed against you.
#FakeSatire purveyor Stephen Colbert made some remarks that were construed by some as homophobic in relation to President Trump and Vladimir Putin. Maybe this joke is anti-gay and maybe it’s not. But what’s most telling about it is the fact that it’s premised on unreality: That Russia “hacked the election” and Trump submissively participated in the act. There’s absolutely no evidence of this occurring. (In fact, there is mounting evidence that Russia conspiracies were concocted by Democrats and perpetuated by Democrats to excuse their loss and undermine the democratically elected President.) In order to be effective, satire must be based in reality. The #FakeSatire that Colbert deals in is actually leftist propaganda, designed not to comment on the world but to shape a perception that pushes a leftist agenda. Colbert thinks he’s channeling Swift—in fact he’s closer to Riefenstahl.
“The left” has been in control of the mainstream legacy media for some time, as Willimon admits above. It has mostly pushed a progressive agenda—an activist state that uses the force of the government (i.e., the threat of property confiscation, imprisonment, and physical violence up to and including death) in order to achieve its goals of forcing everyone to conform a certain type of morality. Leftism, by contrast, actually eliminates the middle man. Today, “the left” is openly promoting direct violence against anyone who opposes them. This is where the “punch Nazis” meme started. It’s why leftist mayors tell the police to “stand down” when leftists are attacking people and destroying property. It’s why Johnny Depp feels perfectly comfortable publicly musing about Trump's assassination. It’s why Kathy Griffin felt comfortable doing her ISIS-inspired propaganda piece.
All the while, as they promote this fascist violence against those with whom they disagree, they pretend to nobility. They claim that it’s in fact Trump and his supporters who are the violent ones. They claim that Republicans who vote to “repeal” Obamacare are committing “legislative violence,” and that shooting to kill those people is somehow “self-defense” that was "self-inflicted." It’s telling that Obama has yet to opine on the attempted assassination of Steve Scalise. This is a religious war that they’re engaged in, and they’ve been told that they are righteous in their hatred. It is a mainstream Democrat party position.
To try to understand why someone might be opposed to allowing unelected bureaucrats to make unaccountable decisions about the literal life and death of over three hundred million individuals, to try to understand why someone believes that only documented citizens with proper ID should be able to vote, to try to understand why someone believes that a private business should not be forced to actively participate in the promotion of speech to which they are personally opposed—that is “normalizing” an opinion that strays from their groupthink. And that is a form of betrayal.
This is all coming after eight years of Barack Obama comparing those who disagree with his policies to terrorists who are “holding the country hostage.” It’s been boiling for awhile. Now with the constant barrage of propaganda masquerading as entertainment, it’s getting worse. And leftists lack the empathy to see the world from another person’s perspective. And they lack the intellectual curiosity to even try, because they’ve built themselves an infrastructure that not only protects them from dissenting opinion, it also has mechanisms in place to punish anyone who might even consider examining what’s happening outside that infrastructure.
While leftists are weaponizing popular culture to push crazed satanic-ritual-abuse levels of absurd conspiracy theories regarding Trump and the Russians, the depraved criminality of Obama and his administration is going largely unexamined. Obama spied on private citizens using government espionage programs. He funneled money from the government into Clinton’s campaign. His justice department ordered the FBI to pretend Clinton wasn’t under investigation. He lied repeatedly about the Iran “nuclear deal.” He lied repeatedly about Obamacare. Clinton, through her “charitable foundation,” sold government favors in exchange for money. She destroyed Libya in an illegal “kinetic military action.” She enabled a husband who is at best a serial predator and at worst a serial rapist. She obstructed justice in the so-called “investigation” of her private email server, over which she sent multiple pieces of classified information. She destroyed evidence in that investigation. The Democrat party claims that Russians hacked their servers, but refused to allow the FBI to examine them, instead using a Democrat group to “analyze” them.
And yet Trump, He Whose Name Shall Be Bleeped, is causing Hollywood leftists to be too stressed to eat. Trump is the one that they’re bravely taking a stand against. Obama, the lying criminal, was “their president.”
Liberals have long claimed that in order to create art one must be a liberal. Curiosity about the world is crucial to creating art, and liberals are more curious than those closed-minded, provincial conservatives. You need empathy, and it takes real empathy to want the government to take property from one person, run it through a vast unaccountable bureaucracy, then turn around and give a few scraps to those impoverished by government regulations. But leftists have no empathy. And insist that to show empathy is a form of collusion with an enemy that it is perfectly acceptable—even noble—to violently attack. By definition, leftists cannot be artists. And the mainstream legacy media is being over-run by leftists.