The bad news is that Hollywood is relentlessly cranking out film after film intended to undermine support for the war against Islamofascism. The good news is that Americans are avoiding these propaganda pieces in droves. Most recently, Babel, The Kingdom, and Rendition have all bombed at the box office.
But it's not just that film-makers are making anti-war movies. They've also gone out of their way to avoid portraying the most believable and likely villains around today, Islamist terrorists, even if it meant rewriting stories like Tom Clancey's The Sum of All Fears to kowtow to the demands of CAIR (unindicted co-conspirators in a terrorism-financing operation). The film version replaced the Islamist terrorists in Clancy's novel with cartoon neo-Nazis.
Michael Fumento noted the difference between Hollywood then and now:
In 1942, Hollywood went to war. It began pumping out countless movies designed both to entertain the public and bolster its will to fight. A lot of them were cheap, hokey, or both. But even in a nation that seemingly needed little reminder of the dastardly attack on Pearl Harbor or the evils of the Nazis, they kept drilling home the message that we must persevere no matter the costs or the duration.
Well that they did. President Franklin Roosevelt lived in constant fear that the public would turn against the war. Indeed a Gallup Poll taken just five months before Germany’s collapse and long after the American public began learning of the horrors of the Holocaust, showed about one-fourth did not want to drive on to unconditional surrender.
Fast forward that reel to the post-9/11 era. Just how many Hollywood movies (not documentaries) have been made in which the bad guys are Islamist terrorists that do not specifically concern the Sept. 11 attacks? If you have to guess, guess “none.”
Read the whole thing. As Fumento observed, Hollywood seems bent on convincing us that either Islamist terrorists aren't really a threat or that they're no worse than we are.
Also, read Ed Driscoll's Hollywood Nihilism, which argues that the change in Hollywood predates 9/11 and Bush ("who's the real enemy," indeed).
It's really remarkable (and disgusting) that Tinseltown — with its well-known predilection for hedonism, its commitment to feminism, its enthusiastic embrace of alternative lifestyles, and its general "do your own thing" attitude — has consistently sided with the most barbaric, mysogynistic, intolerant, and repressive religio-political movement on the face of the earth, a movement that would, given the chance, behead or stone to death practically every last one of them.
Driscoll be damned, I blame Bush.
