Victor Davis Hanson
The all-seeing social-justice eye penetrates every aspect of our lives: sports, movies, public monuments, social media, funerals . . .
"A definition of totalitarianism might be the saturation of every facet of daily life by political agendas and social-justice messaging.
"At the present rate, America will soon resemble the dystopias of novels such as 1984 and Brave New World in which all aspects of life are warped by an all-encompassing ideology of coerced sameness. Or rather, the prevailing orthodoxy in America is the omnipresent attempt of an elite — exempt from the consequences of its own ideology thanks to its supposed superior virtue and intelligence — to mandate an equality of result.
"We expect their 24/7 political messaging on cable-channel news networks, talk radio, or print and online media. And we concede that long ago an NPR, CNN, MSNBC, or New York Times ceased being journalistic entities as much as obsequious megaphones of the progressive itinerary.
"But increasingly we cannot escape anywhere the lidless gaze of our progressive lords, all-seeing, all-knowing from high up in their dark towers.
. . .
"Language is especially enlisted to disguise bothersome reality. During the Obama administration, no one would ever have known from “overseas contingency operations,” “mancaused disasters,” “workplace disasters,” and “holy struggles” that radical Islamic terrorists were seeking to kill Westerners from San Bernardino to Paris. As in the case of illegal aliens, undocumented aliens, illegal immigrants, undocumented immigrants, immigrants migrants, the progressive rationale is that anyone killed or harmed by a terrorist or migrant is usually a nobody and so an acceptable casualty in the greater war against incorrect speech and attitude.
. . .
"Americans have long accepted that Hollywood movies no longer seek just to entertain or inform, but to indoctrinate audiences by pushing progressive agendas. That commandment also demands that America be portrayed negatively — or better yet simply written out of history. Take the new film First Man, about the first moon landing. Apollo 11 astronaut Neil Armstrong became famous when he emerged from The Eagle, the two-man lunar module, and planted an American flag on the moon’s surface. Yet that iconic act disappears from the movie version. (At least Ryan Gosling, who plays Armstrong, does not walk out of the space capsule to string up a U.N. banner.)" . . .
The all-seeing eye of political correctness:
