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In Sunday’s Washington Post, art critic Philip Kennicott unloaded on images of American “fascism” in a new exhibit in New York featuring photographs of the unjust internment of Japanese Americans during World War II titled "Then They Came For Me." That’s somehow comparable to Trump if he deported “Dreamers.” That would be a "looming civic crisis." The online headline was “If America fails its people again, what will the catastrophe look like?” In the paper, it was simply "Images that provoke deja vu." In his 1,571 words, Kennicott never used these words: Franklin Delano Roosevelt. Or any reference to the Democratic Party.
Washington Post art critic Philip Kennicott ripped into the Age of Reagan in reviewing a new exhibit at Washington's Hirshhorn Museum that “explores the evaporation of the line between art and commodity in the 1980s.” Attacking Reagan apparently required a dollop of the never-ending Fake News of the Reagan administration’s “purposeful neglect” of homosexuals dying from AIDS.
While traditionalists surely looked quizzically at the contemporary portraits that Barack and Michelle Obama commissioned for display in the National Portrait Gallery, one could count on The Washington Post and The New York Times to explain how wonderfully revolutionary the Obamas were to promote African-American painters to overturn the "bland propriety" of white traditions.
If it’s Sunday, The Washington Post is imagining President Trump as an authoritarian dictator. A few weeks ago, the Sunday Outlook section compared Trump to fictional dictators. Yesterday, the Sunday Arts section gave Philip Kennicott a huge 2,000-word space for his own fictional-dictator scenario: imagining how Trump would ruin artistic free expression if he wins in November.
Washington Post art critic Philip Kennicott was brought in to denounce the closed-minded Islam-bashing bigots in Saturday’s Style section. By the end, Kennicott was complaining that religion needs desperately to be removed from the public square. Mayhem will continue without secularization: "unless we commit not just to leaving religious certainty in the home, but the deeper metaphorical thinking that gives religion its primal force as well."
In his "Critic's Notebook" on the front of Thursday's Style section, Washington Post art critic Philip Kennicott descended into another rant suggesting the United States is barely more moral than Islamic State beheaders. Americans are not a good people; we are a horrible people, ruthless and then cluelessly patriotic.
The headline was "Senate report's real question: Who are we? Gauzy view of American goodness can't survive revelations of torture."
The National Museum of Women in the Arts in Washington unveils an exhibit Friday titled “Picturing Mary,” featuring more than 60 works on the mother of Jesus. Washington Post art critic Philip Kennicott wrote on Thursday that the museum is cowardly. It’s putting on an exhibit curated by a Yale-educated priest and featuring works borrowed from the Vatican, so it doesn’t show the “darker side” of Mary and a feminist critique of the patriarchy.
But most ludicrous is Kennicott’s insistence that the museum should have felt compelled to include Chris Ofili’s infamous “Holy Virgin Mary” painting, complete with its pornographic overtones and elephant dung.
Sports fans checking in on coverage of Team USA at the 2014 Winter Olympics in Sochi, Russia might want to brace themselves for unexpected outbursts of liberal preaching from reporters covering the games.
Over the years the MRC has documented lefty reporters and writers using the games to celebrate socialist policies, bash expressions of patriotism and even work in jabs against Republicans. In the spirit of the games, the most outrageous journalists are competing with each other in three events for the Gold, Silver and Bronze medals. Today's competition: The “We'll Find a Way to Ridicule Republicans Even in Our Olympic Coverage” Event. Click the Read More button to see who takes home the gold!
As we've noted time and again, the Style section of the Washington Post has been reliably gaga over President Obama and liberal-friendly causes and campaigns. Today's Style page was no exception, with its front page dominated by an Obama for America photo that has been widely retweeted on Twitter and "liked" on Facebook.
"Snapshot of an equal, modern marriage," gushes the headline. "Loving image of Obamas is embraced by social media," added a subheader for Philip Kennicott's "Critic's Notebook" feature. "Who is embracing whom in that photograph of the Obamas that went viral on election night?" Kennicott asked in his lead sentence, laying the groundwork for a gushy item on how the Obamas exemplify a perfectly equal marital union, unlike, apparently, stodgy traditionalist, Republican first couples of yore (emphasis mine):
On the first Sunday of Advent, The Washington Post devoted two stories on the front of its Arts section to revisiting last year's controversy over a gay-left exhibit at the National Portrait Gallery that starred a video with ants crawling on the crucifix of Jesus. The "Hide/Seek" propaganda assembly is now on display at the Brooklyn Museum, and Post critic Philip Kennicott thinks the "right-wing Catholic ire" is already so yesterday: "the pace of cultural change on gay and lesbian issues is so rapid that even a year may have transformed the dynamics."
Whereas last year, museum bureaucrat Wayne Clough removing the ants-on-Jesus video was "a dark day for the Smithsonian, a successful, coordinated attack on free speech," Kennicott is still championing the gay-left curators and their vision of what they now call "the inherent queerness of America." They can't stand the idea that conservatives get to have any say at all.
"To passerby" the Occupy D.C. protest at McPherson Square "is a jumble of tents and blue tarps," but to the Washington Post's Philip Kennicott, the Occupiers "have 'activated' the urban core," with "a living exercise in do-it-yourself (or DIY) urbanism, a trendy movement that strives to engage ordinary people in a hands-on approach to shaping and claiming public space."
And that's just the tip of the iceberg as Kennicott and his comrades commandeered 3.5 pages of the Style section to puff up the left-wing squatters' camp.
"A Square Gets Hip: In Gen. McPherson's park, the Occupy D.C. encampment improvises a vibrant urbanism," reads the headline on the front page of today's Style section. In a cutesy tip-of-the-hat to the Occupiers, the Style section's header is emblazoned with a red-lettered "OCCUPIED" tag to render today's section as "Occupied Style."
On Sunday, the Lord’s Day, The Washington Post knows how to bow to its god, too: political correctness. In Sunday’s Arts section, critic Philip Kennicott announces these maxims. 1) The Western art world and art history is overwhelmingly gay; 2) The level of tolerance for any conservative dissent from this overwhelming gayness is now zero; and 3) While “homophobia” has yet to banned from society, it certainly should be forbidden in the art world. Kennicott began by announcing a “reckoning in the winds” for practitioners of “overt bigotry” in America:
There may be a reckoning in the winds. Attitudes about gays and lesbians, and about same-sex marriage in particular, are now changing so fast that American culture is suffering from cognitive dissonance: still prone to habits of homophobia while simultaneously aware that overt bigotry is no longer acceptable in much of the public square.