Editor’s Note: co-authored by Tim Graham.

The feminist film critics can exhale now. Someone has finally concocted their dream movie: an “abortion comedy.” Because apparently nothing sounds funnier than an unplanned one-night stand and a courageous destruction of God’s most beautiful and most innocent creation.

It’s called “Obvious Child.” Feminist lingo sells this monstrosity. Former “Saturday Night Live” cast member Jenny Slate plays Donna Stern, a standup comedian who “is forced to face the uncomfortable realities of independent womanhood for the first time.” A “drunken hookup – and epic lapse in prophylactic judgment – turns out to be the beginning of a hilarious and totally unplanned journey of self-discovery and empowerment.”

Rolling Stone magazine described one scene of allegedly hilarious “empowerment” between female characters. “You’re going to kill it,” Donna’s best friend Nellie says before a standup comedy set the night before her abortion. “Tomorrow I am,” Donna replies, and “the two unravel in sheepish giggles.”

If America laughs at this, America is beyond redemption.

The New York Times hailed how the film doesn’t veer from a righteous feminist path. Donna does not consult the man who impregnated her, even though she likes him, and she “never wavers on her course of action.” The cameras accompany her into the Planned Parenthood clinic for the execution.

The filmmakers consulted with Planned Parenthood to make the film “accurate,” at least to abortion-loving feminists. They filmed at their abortion mill in New Rochelle, New York.

The director, Gillian Robespierre, announced with pride, “We knew the conflict wasn’t going to be ‘Will she or won’t she?’ I’ve already seen the movie where somebody’s torturing themselves over the decision.” A moral dilemma? A stay of execution? “That’s the formula we were fighting against. We’re just so brainwashed to believe that’s what a happy ending is.”

Feminists have been grumpy for years about movies like “Juno” and “Knocked Up” sending a pro-life message. Slate, the film’s star, argued: “a woman who is not ready to have a baby making it work is not a happy ending to me. It’s a personal nightmare.” She added, “I’ve had women say to me: ‘Thank you. I was feeling guilty for not feeling guilty.’”

In politics, abortion advocates love to fight about the rare exceptions: the rape, the incest, the late diagnosis of Down syndrome or disabilities. But this movie displays the much more typical abortion. It’s a clumsy episode of casual sex between strangers, followed by a violent vacuum pump “cleanup” at Planned Parenthood.

The abortion, in fact, is pitched as a moment of maturity, authenticity, bravery and resolve. “Donna finds out along the way what it means to be as brave in life as she is on stage,” the publicity materials claim. There’s not really a death so much, just a moment of personal growth.

Of course, to sell the movie, they oddly claim this abortion-advocating movie doesn’t have an agenda. “Our film is not an agenda movie in any way,” Slate told Rolling Stone. “The whole point is that women have this procedure, and they should have it safely, and it’s a part of life. It doesn’t have to be this giant obelisk sticking out.” That is not an agenda, no siree.

A little murder is a part of life. A little life matters not at all.

Feminists like these movie-makers don’t see a moral dilemma. They see abortion as a natural part of the daily grind. You wake up, you get an abortion, you have a cheeseburger. The critics call this a “refreshing matter-of-factness” about abortion.

It can also be described as feminist nihilism. The selfishness and autonomy of the woman is paramount, and the accidental baby is just cannon fodder. When the murder of the innocents is celebrated as comedy, civil society is destroyed.

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