The utter debacle that is Obamacare, the government takeover of private health care in the United States, continues to produce unintended consequences. The most recent of these is the revelation that the "Affordable Care Act" – a law in which the written details Obama ignores whenever this is convenient for him – has resulted in a net loss of at least three million insurance plans. This is not the first or the last piece of terrible news relative to the "Affordable Care Act."
Despite this chronicle of total failure and falsehood, Obama's supporters continue to walk in lockstep, confident that through some magical means, some technological deus ex machina, their Glorious Leader will find a way to rescue them and, much more importantly, their "progressive" agenda. There is a cartoon floating around the Internet depicting an Obama voter with a noose around his neck, the other end of which is tied to a two-foot sapling. The Obama voter is happily watering the tree that will eventually grow tall enough to hang him. So it goes with anyone stupid enough to vote for liberals. Confronted with the results of their policies, they stick their fingers in their ears and hum loudly, declaring, "This is not happening."
There is a link between the failure of progressive ideology – the repeated, catastrophic failure of suicidal Democrat policies – and continued support for these discredited concepts and methods. That link is popular culture. The Democrats, the libs, the socialists, own popular culture. While bias in our media is obvious in news reporting (such as the frequent omission of the left-leaning politics of several recent "active shooters"), it is the subtle (and not so subtle) bias in our popular entertainment that we ought to be monitoring. This bias shapes the default attitudes of our children and therefore of our population. It informs and reinforces the worldview of the Great Middle, those citizens whose votes waiver depending on what their televisions tell them. This left-leaning attitude poisons present and future voters, turning them into Obamabots by making them believe the world is wired per the left's wishful thinking.
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There is no better example of this, coupled to the libthink that treats "technology" as a vague panacea, than the recently released Matt Damon film "Elysium." Damon's left-wing politics are no secret. While he and the movie's director have denied it is a propaganda piece, Variety says the film has one of the "more openly socialist political agendas of any Hollywood movie in memory, beating the drum loudly not just for universal health care, but for open borders, unconditional amnesty and the abolition of class distinctions as well." The film is nothing more or less than a liberal technological fantasy of the future, a future in which magical machines – uncoupled from any acknowledgment of finite resources, of cost, of ownership and property rights – can be used to solve all the suffering of mankind (if only we murder the evil rich people now preventing these solutions from being applied).
As the film opens, we are informed that the Earth is diseased, overpopulated, polluted and horrible. "Earth’s wealthiest inhabitants," we are told through onscreen text, "fled the planet to preserve their way of life." The implication is that people who had the money to afford to do so built the space habitat "Elysium" and then emigrated to it. The attitude is much like that accompanying accusations of "white flight." We are told that when Evil White People "flee" the cities to the suburbs because they wish to escape the crime and violence of the cities, this is somehow an indictment of those whites' racist attitudes. If they are not white, then they are at least the Evil Affluent, for they have the money to "get out" while leaving poor people behind.
This attitude pervades "Elysium." The rich did not leave because they could afford something better thanks to money they had earned and property they legally owned. No, they simply didn’t want to rub shoulders with those dirty, nasty poor people. The portrayal of all characters in the movie is accordingly cartoonish: Dwellers on Elysium, particularly Jodie Foster's secretary of defense, affect a rich person accent that is equal parts Renaissance Faire and Thurston Howell. While the people of Elysium are clean and beautiful and magically suffer from no sickness at all (thanks to their medical beds, which can cure absolutely anything all the time), the Earthlings are dirty and tattooed and speak Spanish. The message of the film is this: The rich people have stuff, and it doesn't matter that they legally own it or that they earned the money to possess it. We, the masses of Earth, deserve that stuff, and we shall take it in the name of social justice.
Ironically, Jodie Foster’s character accurately sums up the threat: "I understand that it is not the fashion to think and to act as I do," she says. "But when they come for your house, for the house you built for your children and your children's children, it won't be PR and campaign promises that keep them out. It will be me." And what happens? The masses o f Earth do invade Elysium. They do come to take what is not theirs. They do lay claim to resources they have not earned. Elysium is invaded and its medical supplies dispatched to save the world. But could such a small space station possibly have enough resources to treat everyone, and for free? In a liberal universe, this is not a question one asks.
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This is not merely entertainment. This is how liberals think. Even as we abhor this propaganda infecting our society, we can learn from it. We can see the intellectually bankrupt "reasoning" of the left in what the film advocates, in how it portrays its villains and its heroes. "Elysium" tells us much about how liberals see the world and how they want your children to see it. To liberals, technology is magic. Reliance on this vague notion allows the "progressives" to remain naively oblivious to the moral and logistical implications of everything they mandate.
Media wishing to interview Phil Elmore, please contact [email protected].