The entertainment industry – movies, music and television – is also used to spread newthink’s values and principles. Volumes could be written on this subject, but Hollywood’s bias toward cultural coarsening, anti-religion, anti-capitalism and anti-Americanism, and its addiction to violent nihilism, must be touched on.
The argument that popular music has become gutterized barely needs to be made, it’s so obvious. The music industry sells promiscuity as much as music. The road from the Beach Boys singing “Wouldn’t It Be Nice” to Guns n’ Roses singing about panties around knees to the unquotable hip-hop lyrics of today is a long, strange trip indeed. Progressive musicians, who believe that privacy and modesty are unnatural anyway, have it all: they can tick off their parents, get the girl(s), and go for fame and fortune all in one fell swoop.
Hollywood Sign (Photo credit: Wikipedia)
In its early days, the American movie industry celebrated the major religions. Its annual top box office hit – Samson and Delilah, David and Bathsehba, The Robe, The Ten Commandments, and Ben Hur – was often based on the Bible.* The movies of that time, starring Bing Crosby, Pat O’Brien, Spencer Tracey and others were highly sympathetic to clergymen. But since the 1970s, Hollywood’s anti-religious bias has resulted in films too numerous to mention bashing Catholicism (Monsignor, The Godfather, Part III), Protestantism (Children of the Corn, The Handmaid’s Tale) and Judaism (Everything You Always Wanted to Know about Sex (But Were Afraid to Ask), Naked Tango). Most of Hollywood’s anti-religious films failed at the box office. As Michael Medved says in his book Hollywood vs. America, Hollywood’s apologists often argue that they are only creating these anti-religious films to give the American public what it wants. But this contention falls apart in the face of the financial Armageddon these flops have created for their backers. Yet still they are made. The hostility toward organized religion among Hollywood’s movers and shakers is so powerful that they must express it, even if it costs them millions.** Progressive Hollywood’s anger toward an absent God and contempt for organized religion, a pillar of traditional America, overcomes even their eye for profit.
Most of Hollywood’s anti-religious films failed at the box office… Yet still they are made.
Despite a Los Angeles entertainment culture of big-money deals and conspicuous opulence, Hollywood loves to bash business. A common theme in television has been corruption vs. honesty in business: 81% of the scripts dealing with this treated business as corrupt.*** Sleazy criminal-capitalists appear on screen ever more frequently: only 11% of feature films depicted businessmen negatively from 1945 to 1965, but in the two following decades, the rate zoomed to 67%.****
Hollywood’s anti-American public opinion management extends to a rewrite of the popular conception of American history. This is important, since many more Americans watch Hollywood movies than read history books. As Michael Medved says, Hollywood history nearly always indicts America, from our treatment of Native Americans (Dances with Wolves), our involvement in Latin America (Salvador), to the McCarthy era (The House on Carroll Street).†
The entertainment industry seems to be addicted to the depiction of violence. Prime-time television is much more violent than real life. The murder rate among television characters since 1955 is 1,000 times higher than among real-world victims.†† Hollywood’s newthink artists derive a great thrill from exploring violence and nihilism because they can jab their finger in the eye of traditional America and the Christian and Jewish heritages they’ve rejected. They can simultaneously be acclaimed by their peers as courageous, creative and edgy for work which is in reality easy-moneyed, predictable and sheep-like. Hollywood’s nihilism is essentially an angry gesture to their perception of God the absent father accompanied by an ego boost, a paycheck and a career enhancement.
The entertainment industry, as well as the educational system and the news media, reeducate the ignorant progressively unvirtuous in newthink beliefs, attitudes and conventions. Newthinkers view these benighted people just as members of western civilization viewed those from uncivilized cultures. Like many westerners of the 18th and 19th centuries, newthinkers possess a missionary zeal and an unquestioning certainty that their morality and virtue assignment are superior to that of any other culture.
Hollywood rejects traditional America — even more than profit or entertainment, that is its highest purpose.
In light of this, it’s clear that progressives don’t really believe in multiculturalism except in its superficial aspects or as a stratagem to undermine traditional culture. No foreign worldview is allowed to enter and threaten the heart and mind of newthink. Only trivial aspects of non-progressive cultures are tolerated in progressive culture, and they are remade to fit the progressive mold. All other cultures’ moralities, including traditional America’s, are rejected and replaced with political correctness and progressive virtue. Hollywood rejects traditional America — even more than profit or entertainment, that is its highest purpose.
* Michael Medved, Hollywood vs. America, (HarperPerennial, 1993), pp. 50-51.
** Ibid., pp. 63-64.
*** S. Robert Lichter, Linda Lichter and Stanley Rothman, Watching America, (Prentice Hall Press, 1991), p. 146.
**** Michael Medved, Hollywood vs. America, (HarperPerennial, 1993), p. 222.
† Ibid., p. 225.
†† S. Robert Lichter, Linda Lichter and Stanley Rothman, Watching America, (Prentice Hall Press, 1991), p. 185.