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Recognizing the urgent need to impact culture beyond the world of K-12 education, we proudly present FreedomProject Media: a venture that brings education, information, and inspiration to audiences of all ages through original programming, educational media, and current events-oriented content.

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Progressive Assault on History and Individualism Continues    



  By: Dr. Duke Pesta
   Published : August 11, 2017


The people have spoken: the hit movie Dunkirk is one of the few bright spots for Hollywood this summer. Despite impressive box office and populist support for this gritty, visceral, historically-important chronicle of military endurance in the face of adversity, the perpetually clenched left continues to grouse: Dunkirk is too male-oriented, it lacks racial diversity, there are no prominent roles for women: the partisan pettiness drones on ad nauseam.

For Progressives, art and history are not discrete categories of human achievement that often rise above politics to speak deeper truths about the human condition. Rather, Progressives view art and history as grist for their social engineering mill, mere fodder to stoke the fires of their increasingly overheated rhetoric. All human achievement—intellectual, artistic, athletic—is reduced to political agitprop. This reality explains their myopic view of Dunkirk: the film is offensive because it showcases a historically accurate portrayal of predominantly white male fortitude and courage in the face overwhelming stress. Where you and I see universal values and compelling moral lessons, the left sees only race and gender.



So, it is no surprise that Progressive critics have launched a preemptive assault against the soon to be released remake of Death Wish, the 1974 vigilante film that starred Charles Bronson. Death Wish tells the tale of a mild-mannered doctor whose wife is murdered and whose daughter is assaulted by thugs. The brutal and un-redressed crimes cause the doctor to become a vigilante, roaming the streets and dealing out the rough justice that cannot be served by the authorities. The story is also a complex allegory about empowering the individual in the face of anarchy that the state cannot—or will not—control.

Based solely on the promotional trailer, the remake of Death Wish, staring Bruce Willis, is being condemned by critics and SJWs as a racist alt-right fantasy for impotent and bigoted white men. Fueling the outrage of fainting-couch leftists is the fact that the remake takes place in Chicago, a city where black on black violence is careening out of control, a city that is unwilling to take the steps necessary to protect its most vulnerable citizens. Judging from the trailer, many of the thugs that fall victim to vigilante justice have been sufficiently white-washed by the politically correct screeners at the studio, but evidently to no avail for our critics, for whom inventing bigotry where none exists is a primary stock in trade.

How much would you be willing to bet that if the Bronson character was portrayed by Denzel Washington or Idris Elba, gunning down white pimps, drug dealers, and corrupt cops, all against the backdrop of the Chicago skyline, the critical response would be quite different?

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