Trump ‘Caesar’: NYC’s Public Radio Intellectualizes Assassination Art

Should someone on the right do or say something deemed reprehensible, the left and their media is quick to demand swift retribution. Whether we’re talking a firing all the way to public banishment, there is no justification allowed. The offender is to be swiftly punished and harshly punished, and all are expected to preface any comments with an acknowledgement that the indefensible was committed and the response was appropriate.

However when the offender is on the left, all attempts are made to demand we all understand that the offense is something “both sides” does, even if corroborating evidence is not provided. And since the left believes they are intellectually superior to everyone else, they will try to engage in brain gymnastics to prove that superiority and expect their opponents will throw their hands up in utter futility.

Such an attempt occurred on the June 16th edition of WNYC‘s “On the Media”, the New York City affiliate of National Public Radio. Hosts Brooke Gladstone and Bob Garfield took the soft-spoken approach explaining that political assassination satire has been part of the arts culture going all the way back to William Shakespeare and even qualified the outrage over NYC’s Public Theater’s depiction of the Donald Trump-Julius Caesar onstage bloodletting with a 2012 Guthrie Theater in Minneapolis production where an Obamaesque Caesar was also killed onstage.

There are many inconvenient differences, especially when it comes to liberal sensibilities.

Had a white Brutus character killed the Obama-looking Caesar, there would be black pundits and/or activists nationwide going off on any cable news outlet that would have them on. But given the lackadaisical attention given to the daily massacres in our inner cities, a black Brutus killing a black Caesar didn’t make it on the national radar, so moral-equivalence progressives using the 2012 version in a market far smaller than a prominent New York City production is an insulting reach.

To the older white NPR donor, black-on-black crime is an issue of small importance thus the Minneapolis “Caesar” probably never came up in casual conversation.

Not mentioned by the defenders was that the Minneapolis version also played on racial stereotypes that didn’t appear to bother the left like the smartest president ever holding a basketball, and the murder scene was almost totally devoid of blood in comparison to the 2017 Trump version thus was probably accepted as quite tasteful.

 

The Guardian’s Lois Beckett on what critics of The Public Theater’s production of “Julius Caesar” get wrong and why theater is so essential in our current political moment.
On the Media, 6/16/17

What was probably the most insulting about the “On the Media” segment was the introduction of the millennial perspective, provided by Lois Beckett, so titled “Senior reporter” of the UK Guardian’s NYC beat. Beckett is somewhere in her early 30’s, graduated from Harvard in 2009 with a degree in Social Studies that morphed into a crash course in journalism via the Nieman Foundation and wrote for liberal nonprofits like ProPublica (which gives us unbiased programming like “Democracy Now!”).

Despite their being able to recite what they’ve either been taught in progressive academia or quickly looked up on Google as show prep, there is no justification for taking the irresponsible position of portraying anyone known by the public as a prop for cultural commentary. There was a time, a time Beckett obviously didn’t personally experience, where there were morality standards; standards the left has been systematically dismantling for decades. We know of no Republican and/or conservative that would ever suggest a production of Julius Caesar should be modernized to include a Barack Obama depiction.

That was done by the left.

We know of no Republican and/or conservative (and that also includes #NeverTrump sore losers) that would ever suggest a production of Julius Caesar should be modernized to include a Donald Trump depiction.

That was done by the left.

In fact, all theatrical depictions of political assassinations are written and produced by the left. The “24” season five, episode one assassination of Democrat President David Palmer was not written and produced by Republicans. The “Kingsman” assassination of the black president was not written and produced by conservatives. Ignorant liberals tried to make the connection of the 20th Century Fox production to the Alies-Fox News but anyone who’s actually worked in the industry knows there’s a big difference between the mentality in Hollywood and FNC.

Gladstone, Garfield and Beckett’s sympathy for the “arts” is understandable because at one time they all worked for subsidized entities. NPR is funded by private and corporate grants as well as taxpayer dollars. Because they’re subsidized, they can produce content that doesn’t have to rely on advertisers; advertisers that could pull a very important plug if said content violated the sensibilities of their audience. This is why, for example, the National Endowment for the Arts is so important. People who are shitty artists can be paid to create shitty art that relies on shock for any kind of attention, and as Bob witnessed on many occasions at Boston’s School of the Museum of Fine Arts, professors can intellectualize and find value in random paint splatter to justify the continued receipt of tuition dollars from the untalented.

The left will produce their art, satire, outright insults and condescendingly explain why we have to accept it. If an Alexandria shooting of Republicans happen, it was ultimately our fault.

We’re all just too stupid to know it.

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