by Jerry Richardson 1/18/15
It’s not often that I agree with Maureen Dowd, but a reasonable person should be willing to accept truth where they find it. Dowd just reported some important truth in her latest article, Not Just a Movie. That truth is:
The movie Selma is Artful Falsehood.
In her most recent article in the NYT, Dowd describes her viewing of the movie Selma—yeah, that critical-to-our-national-security movie that motivated Obama to stage a celebrity-viewing at the White House during his busy schedule of not fighting terrorism.
Dowd, who for years has been one of the darlings of the Progressives’ NYT propaganda team, makes it unmistakably clear that the movie, directed by Ava Duvernay, does a falsehood-hatchet job on former President Lyndon B. Johnson.
Wow, I’m all broke-up over this desecration of LBJ.
Lyndon Baines Johnson, for a while, was given somewhat reluctant praise—he was a southern-Dem-light in the glorious-liberal-light of JFK—from the progressive left because of his self-defined war on poverty—another one of the many “wars” lost by the Democrats after wasting vast amounts of taxpayer money.
As far as I’m concerned, Lyndon Johnson is the single biggest political embarrassment of all times for the state of Texas. Not only did LBJ orchestrate the “limited-war” idiocy of the Vietnam war—a mindless strategy that has haunted USA military strategy ever since; be he also fathered many of the existing entitlement programs that have spent this nation into arguably un-reparable debt: “During his presidency, his agenda for Congress was to pass his “Great Society” programs, wide-ranging initiatives on health and health care, education, conservation, urban renewal, etc.”
Despite the fact that the Voting Rights Act and the Civil Rights Act of 1968 was passed under LBJ, he was dishonestly portrayed in the movie Selma as “butting heads with King and saying that giving blacks the right to vote is not a priority.” Simply another example of how all truth must necessarily bend to any narrative of Progressivism, especially a narrative from the sacred halls of Hollywood.
The long-lasting racial animosity created by this film will fall right in line with the latest attacks on the accusations of white-racism that have resulted from the lies told about the nation’s police forces: “Cops hate blacks.” Dowd’s description of this intentional deception would be stunning if most of us weren’t already inured to Hollywood’s non-ending propaganda:
DuVernay sets the tone for her portrayal of Lyndon Johnson as patronizing and skittish on civil rights in the first scene between the president and Dr. King. L.B.J. stands above a seated M.L.K., pats him on the shoulder, and tells him “this voting thing is just going to have to wait” while he works on “the eradication of poverty.”
Many of the teenagers by me bristled at the power dynamic between the men. It was clear that a generation of young moviegoers would now see L.B.J.’s role in civil rights through DuVernay’s lens.
And that’s a shame… But the director’s talent makes her distortion of L.B.J. more egregious. Artful falsehood is more dangerous than artless falsehood, because fewer people see through it.
The irony of her criticism is the fact that Maureen Dowd and journalists of her persuasion (Progressives) have for years now been expert-practitioners, 10th-degree-blackbelt masters of artful falsehood.
It is a somewhat-interesting question as to which institution has damaged our society more with this black art, Progressive-journalism or Hollywood? Maybe it’s a toss-up?
© 2015, Jerry Richardson