The Harvey Weinstein scandal is one of the biggest stories around, right now, so I thought I’d offer up a couple of the more interesting perspectives I’ve come across.
As Cullen says, it’s one thing to repudiate the odious Weinstein and the allegations made against him, but quite another to attempt to eradicate all evidence of his existence. This sets us on a very dark path: film and tv credits, in their small way, are part of the historical record. Selectively omitting those parts of the historical record that we dislike sets us on the path of the Orwellian Memory Hole. Especially when so much of the record today is electronic, and in the hands of vast, totalitarian, unanswerable corporations.
“Unpersoning” people is precisely what authoritarian regimes have always sought to do, whether the high priests who erased Akhenaten from monuments, or the Soviets who wiped purged officials from documents and photographs, as in the infamous “The Commissar Vanishes” picture.
O’Neill raises some excellent issues, here about trial by media, guilt by association, and the silencing of disagreement, but I feel he kind of misses the point about the politicisation of abuse. Because, the fact is, that horse has long bolted, and it was the left who opened the barn door and slapped it on the flank.
To be sure, that’s a bit of a but they did it first argument, nevertheless, it remains the fact that the left has spent years wagging their collective fingers from on high. Now that their ivory towers have been exposed at tottering edifices of rottenness, there is surely as much a moral obligation to relentlessly expose that as there was, say, the rottenness in the Catholic church.
The other mark that O’Neill missed completely is, as Dave Cullen shows above, the disturbing moves to unperson Weinstein.
Ben Shapiro makes some general observations about Hollywood, and the fact that the “rape culture” that the left have been hectoring us about for years actually festers right in their own backyard.
Interestingly, Shapiro references the film version of The Godfather. He might also have referred to Mario Puzo’s original novel, where Jack Woltz is unequivocally portrayed as a pedophile, as well. In the famous scene where Tom Hagan visits Woltz’s mansion (prior to the “horse head”), as he’s leaving, he glimpses an aspiring child actress he’d seen in Woltz’s company earlier, her makeup smeared, her hair messed, and her dress falling off, while her formidable stage mother tries to pull her together.
Finally, a bit of light entertainment, if you want to pass some time. It’s instructive to see how poorly the moderators do their job, here: not so much that they can’t control the audience – although the sulky stage-occupier should have been dealt with unceremoniously – but that, right off the bat, they went all-in with their own biases.