After last night’s SOTU, Americans instantly proved their innovation, creativity, intelligence, and can-do spirit by putting out great memes. USA! USA!
The Me Too meme on Facebook encourages a sense of victimhood in women, and is part of the way we deny biological reality and cultural anti-rape bulwarks.
If all the women who have been sexually harassed or assaulted wrote ‘Me too.’ as a status, we might give people a sense of the magnitude of the problem.
As you’ve surely noticed, the meme jumbles together harassment and assault, which are entirely different things. Assault is a criminal act. It involves any unwanted physical touches on the person, from the butt grabbing Ben Affleck apparently enjoys, to the pussy-grabbing that President Trump noted rich guys get away with (without ever saying he’d done it himself), to out-and-out rape. Harassment, on the other hand, doesn’t involve physical contact. It involves mental contact, with the man using words or touch-free motions to impose his power or sexual desires on an unwilling female.
Just about every woman I know who routinely appears on Facebook has put up a “Me too” post. I suspect, though, that few of them have actually been raped, something for which I am grateful. One of the virtues of life in America is that women aren’t raped often, even on college campuses.
In addition to rape, of course, there are other sexualized (not sexy) touches that men visit on unwilling women. I once had a guy twerk on me on a crowded bus, years before twerking was a thing. Technically, this was probably an assault, but I simply ignored it. In my mind, it wasn’t a “guys are animals, I’ve been assaulted” moment. Instead, I took it as a “there are way too many crazy people wandering around San Francisco” thing and got on with my life.
From what I gather reading my female friends’ posts and comments, many of the “Me too” women had that type of interaction — unwanted touches that were fleeting, offensive, and part of life in a world with men — and characterize it as an “assault.”
What most seem to have experienced, though, is some form of non-physical sexual harassment. That’s the kind of contact between men and women that is purely a head game — the man doesn’t lay hands on a woman, but he speaks or behaves in a way that’s purely sexual and can range from scary to offensive to (yes) funny, depending on how pathetic their genitals are when the raincoat opens to how genuinely funny their dirty, or slightly risque, jokes in the workplace are. (Yes, I will laugh at a clever, and not too dirty, dirty joke.) [Read more…]
We tend to forget, but the big networks get to come to our TVs because they rent airwaves from the federal government. In other words, “we the People” are the landlords and the networks are the tenants.
Do you think this video violates the lease? (Serious content warning — I’d consider this not just defamatory, but semi-pornographic.)
Options if you think it does violate the public trust:
- Contact the FCC
- Contact NBC
- Contact your local NBC affiliate
- Boycott SNL advertisers
The problem with Bill Whittle videos is that, once you start watching them, you can’t stop:
This was Miley Cyrus, about a year and a half ago:
And this is Miley Cyrus now (caution: NSFW, and really boring, just showing it to make a point):
One question: What the heck happened? Whether or not one likes her style, the first video shows that she is a decently talented young woman. The second video shows that she is a brain-damaged slut puppy.
Is Miley sui generis, or is she the perfect metaphor for American youth?
I am still laughing:
Miley Cyrus is an American tragedy. By that, I don’t mean that she herself is tragic. Of course, to the extent that she’s a young woman who’s been utterly corrupted by Hollywood, that’s an individual tragedy. When I say she’s an “American tragedy,” though, I mean that she is emblematic of that sad state to which American culture has been reduced.
I wrote a couple of posts about Miley at Mr. Conservative and really don’t want to write about her anymore. However, that doesn’t mean I’ll be so selfish that I won’t share other writers’ fine thoughts about her with you:
Camille Paglia: “Subversion requires limits to violate. *** Pop is suffering from the same malady as the art world, which is stuck on the tired old rubric that shock automatically confers value. But those once powerful avant-garde gestures have lost their relevance in our diffuse and technology-saturated era, when there is no longer an ossified high-culture Establishment to rebel against. On the contrary, the fine arts are alarmingly distant or marginal to most young people today.”
Victor Davis Hanson: This brilliant classicist sees a straight line between The Satyricon “about the gross and pretentious new Roman-imperial elite,” and Filner, Spitzer, the Kardashians, Miley, and the myriad other celebrities who demean themselves and who manage to demean us even more simply because we lack the moral decency to stop watching their perverse spectacles. Thus, Miley knows that, gross though she was, she will profit economically from this publicity. We may exclaim and express outrage but, en masse, Americans lack the will to turn their backs on her entirely. If she comes out with a catchy dance tune, all will be forgiven.
Michelle Malkin: Michelle does a flashback post which reminds us we shouldn’t it blame it all on Miley. This Southern Christian girl wasn’t born that way (to quote Lady Gaga); instead, a star-stuck father and a corrupt entertainment system turned her to the dark side. Which gets to my point above that, even as we decry this, we still buy movie tickets, watch TV, listening to music, etc., all of which funds this moral degradation.
Charles C.W. Cooke: And of course, there’s always a racial spin. Cooke looks at a crazed black racist at The Nation who tweeted out something that reminds us that, just as to a hammer everything is a nail, to a race obsessed person, everything is a racial attack: “[Aura] Bogado ranged from the incomprehensible assertion that ‘White is the new Miley’ to the self-parodic confession that ‘Every time I see @MileyCyrus slap that black woman’s butt, I think about the way that enslaved blacks were whipped for white entertainment.'” “Progressives” — living in a delusional past and hating it, but incapable of recognizing modern reality.
Generally speaking, I am not a fan of the Disney Channel. Parents think the teen-oriented shows are innocuous, because they are free of references to sex and drugs. That’s true, but what they have in bushel-loads is attitude, bad attitude. Whether you’re watching Hannah Montana (mercifully out of production), the Suite Life of Zach and Cody (or the Suite Life on Deck, its sequel), or Pair of Kings, or the Wizards of Waverly Place (another show that is defunct), you be assured of a few things: inept, absent parents; humor that’s premised on one-liner insults; appallingly bad acting, with the teen stars pausing after every woodenly delivered one-liner to give the laugh track a chance to kick in; plots and camera work that cater to one-minute attention spans; and relentless Disney product promotion, since the shows are really just extended commercials for the teen stars Disney grinds out at its studios.
Put more succinctly, the shows are frenzied in pace and mean-spirited in tone. If your tween or young teen is giving you attitude, you don’t have to look further than the Disney channel (or its evil twin, Nickelodeon) to figure out where your child learned those techniques. It’s small wonder that so many former Disney stars have crossed to the dark side. Aside from living in the artificial, sycophantic world of Hollywood, stars such as Miley Cyrus, Britney Spears, and Demi Lovato, all of whom have had drug or mental health issues, have also been carefully taught on the Disney lot that adults are idiots, that the only people who matter are their peers, and that morality is defined by feelings, with every person’s own navel being the ultimate moral arbiter.
Even Selena Gomez, who has just slipped free of the Disney studio, seems to be moving towards the dark side, as her costumes become sleazier and sleazier. Sleazy costumes were pretty much the canary in the coal mine for other troubled Disney stars. In other words, breast- and thigh-baring were the first outward manifestations of the actress’s imminent physical or moral collapse.
And yet, in this darkness, there is a little bit of light: Phineas and Ferb. The only thing that Phineas and Ferb has in common with the other Disney shows is that the parents are absent and clueless. I forgive the show, though, for that conceit, because it allows the main characters’ lights to shine so brilliantly. In a TV world defined by jaded, sarcastic, bored, trouble-making youth characters, Phineas, Ferb, and their friends are distinguished by boundless enthusiasm for and interest in the world around them, and a complete absence of cynicism.
The premise is simple. Phineas and Ferb are stepbrothers who have the perfect bond in their shared genius and their intellectual curiosity. Their friends admire their brilliance, and enthusiastically participate in their ideas. The ineffectual counterweight to their manic genius is their shrill older sister Candace, who talks on the phone endlessly with her best friend, and spends most of her energy trying to attract Jeremy, the laid-back teen dude who is unselfconscious, kind, and clueless about Candace’s crush. In every episode, Candace tries desperately, and without success, to make her parents aware of Phineas’ and Ferb’s escapades. The show also has a subplot with an evil genius and a platypus, but I pretty much ignore that part, which is just silly.
The show’s introductory song pretty much sets the tone. It describes an exciting world, with endless interesting things to see, do and learn. It urges children to participate wholeheartedly in life:
That theme song reminds me of another nice thing about Phineas and Ferb, which is the music. Every show has a song. Musically, the songs range from tolerably bland to surprisingly sophisticated. Take for example the song from “Ferb Latin.” Although the lyrics are nonsensical, it is a remarkably sophisticated example of counterpoint, a technique that takes two apparently incompatible songs and weaves them together into a single, successful melody:
So if you should ever find yourself in a room with a kid who is watching Phineas and Ferb, don’t change the channel or leave the room. Sit down, instead, and get a very rare glimpse of delightful children’s programming.