First, it was Kinsey:
…the right-wing police have turned their sights on Bill Condon’s new biopic, Kinsey, in the same hysterical terms that greeted Alfred Kinsey himself more than half a century ago: Such immoral subjects shouldn’t be made public. Robert Knight, the (predictably male) head of the Concerned Women of America’s Culture and Family Institute, compares Kinsey to the notorious Nazi Dr. Mengele; meanwhile Dobson’s Focus on the Family Web site savages Condon’s movie and claims Kinsey should have been imprisoned. Now, that’s one big thumbs down.
Now, the culture warriors are decrying Oscar winning film The Million Dollar Baby for a “lack of balance”. Whatever. As David Marr pointed out last night on Lateline, this is a concept that makes dubious sense when it comes to current affairs, very little when it comes to reporting, and I’d argue, none at all when it comes to movies. I suppose Dan Quayle started it all by attacking Murphy Brown. Now, people have a perfect right to say “I think this movie is crud” or “I don’t like the movie’s politics”, but balance? It’s odd – I haven’t seen the film in question, but as far as I can tell, it’s standard Hollywood fare. I thought the free market was meant to sort out viewer tastes. Clint Eastwood was once a poster boy of the Nixon Republicans (when Hunter S. Thompson refused to serve… Nixon saw him as a possible GOP conduit to the Freak Generation). Why should films have political balance? It’s meaningless. It’s conspicuous indignation gone mad. As LA Weekly columnist John Powers writes about Right-Wing PC:
These days, the limits on speech are increasingly defined by the right, which never, ever stops pushing. Despite controlling all three branches of government and the machinery of economic power ¢â¬â two-thirds of those making over $200,000 voted for Bush ¢â¬â conservatives keep playing their tricky double game. Even as they insist that they have been given a mandate (51 percent), they rail that leftist elites are somehow running everything.