Hollywood Blame-Shifts on #MeToo
The new film “Tár” features an improbable conservative who is the villain and scapegoat for #MeToo fury.
If one needed further proof that conservatives do not control any of our nation’s major institutions, look no further than Tinseltown. Widely criticized for perpetuating the woke mind virus, Hollywood has taken its propaganda machine to a more subtle height.
The film “Tár” was released at the beginning of October. It documents the meticulous life of the antihero character Lydia Tár — a lesbian who is a driven, exacting, world-renowned classical composer — as well as her bullying and power-abusing actions that send her into a descent from glory. It’s a commentary on the #MeToo movement in Hollywood and cancel culture, but it’s also a commentary on conservatism that paints those on the Right as being so divorced from humanity that Tár’s behavior is condoned for the sake of art and beauty.
What Is #MeToo?
The #MeToo movement started long before Hollywood appropriated it. Its original purpose was to expose the monsters who preyed on ordinary women, specifically women of color. The movement was hijacked by the Hollywood cultural elite in the takedown of glitterati monsters like Harvey Weinstein and Bill Cosby, who routinely used and abused women from their positions of power.
Art Reflecting Life
The story of “Tár” is eerily similar to that of former Metropolitan Opera conductor James Levine, who had been using and abusing vulnerable artists at his mercy since 1968. According to our Nate Jackson: “Levine was surrounded by people who didn’t speak up because they were either desperate to make it in the classical world or reluctant to stain the institution he ran — an institution that costs $300 million a year to run and depends on generous donors who would rightly be repulsed by Levine’s conduct. Thus, it took a series of other #MeToo dominoes to fall before anyone could dethrone him. And his many victims were left picking up the pieces.”
Art as a Propaganda Organ
“Tár” is a more highbrow attempt to color conservatives as the horror-story monsters. Its veneer of intellect and the world of classical music as the backdrop aside, “Tár” displays classic leftist projection techniques in its storyline and portrayal of conservatism.
Filmmaker Mark Judge notes: “The lead character is a symbol of what liberals think of as conservative privilege and cruelty, despite the fact that the character is a lesbian and a classical music conductor. What is crazy (but maybe not surprising) is that liberals think that conservatives and Christians would somehow accept Lydia’s behavior. That we somehow value art and genius over the treatment of other human beings, when the opposite is true.”
One need only to look at recent history to see that if you substitute Judge’s line about valuing art and genius with the words “science” and “the experts,” you would have a perfect picture of the Democrats’ stance in the handling of issues like abortion, gender ideology, education, and COVID-19.
Conservatism and Pop Culture
Lydia Tár as a character is not a believable conservative. This is mainly because the “values” she perverts are not those of conservatives. Conservatives believe in the preservation of Western culture, civil discourse, and fair play. Tár is interested in playing God.
The arts are a tool for good and ill. In the golden age of Hollywood, the American art form of filmmaking was used to distribute American culture and values. Today’s Hollywood is only interested in purveying the worst depravity of humanity and lionizing the worst aspects of woke culture. As unfunny comedian Jimmy Kimmel once commented: “We don’t make films like ‘Call Me By Your Name’ to make money. We make them to upset Mike Pence [read: conservatives].”
The divisive hatred that is polarizing the country is dreamed up and disseminated through our movies and media. Its demonizing message is ever present and varying degrees of subtle. “Tár” is no exception.
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