The Evil Some Women Do - The American Spectator | USA News and Politics
The Evil Some Women Do
Voting on the Born-Alive Abortion Survivors Protection Act in the House on Jan. 11 (Forbes Breaking News/YouTube)

Before I formed you in the womb, I knew you. Before you were born, I set you apart…
Jeremiah 1:5

Everything the modern Left says is a lie. Climate change is not an existential threat. There is no systemic racism in America, and police don’t target black people. The border is unsecure. Donald Trump was a great, if flawed, president without Russian help. Joe Biden is a desiccated, corrupt, incompetent president with Chinese help. Fat women are unhealthy, not beautiful. Men can’t become women, and transwomen aren’t women. Abortion is the opposite of reproductive health care. This last, of all their countless lies, stands apart as truly satanic: that a mother should have the right — more, the invitation — to kill her baby at any stage pre-birth and, perhaps, post-birth. Last week saw more battles between good and evil on the battlefield of abortion, which extended even to my career as a storyteller. It is the righteous civil war to be fighting on the 50th anniversary of one of the vilest Supreme Court decisions ever handed down (on Jan. 22, 1973), mercifully and sagely overturned last year.

How maternal infanticide became worse than widely accepted — in fact, deemed proper — by so many wretches is its own tragic history, for which the Right must take much of the blame. The previous two generations, dominantly religious, mistakenly believed that morality, family, and common sense would deter the illogical rot of Marxist-feminist ideology. Thus, they remained culturally inert from the late sixties onward. They had no idea how ineffective their virtue was when compared to the combined force of academia, the news media, and the entertainment industry.

Conservative inertia proved no match for fanatical activism. Rather, it provided a fecund breeding ground for the progressive indoctrination of the morally rootless. In a staggeringly brief time span, TV fare went from Bewitched (1964–1972) to The Mary Tyler Moore Show (1970–1977) to Maude (1972–1978) getting an abortion on national television in 1972. So when, a mere year later, seven robed lawyers decided that a woman had the constitutional right to kill her baby, depriving the most helpless on Earth of the right to life with no appeal, the result was not national outrage over the sanctioning of a holocaust but mass indifference.

This abomination could have gone on forever, except that women refused to allow it. Indeed, the very women just given the freedom to slaughter their unborn — those who still embraced their most basic purpose to birth, nurture, and raise persons of value — fought like political Amazons to save them. They initiated the March for Life to the Supreme Court building on the first anniversary of Roe v. Wade to protest the infernal decision. About 20,000 people, mostly women, participated in the original march, to little media attention. The figure grew exponentially every year (225,000 people on the 25th anniversary in 1998), as did the pro-life movement, to include a substantial number of the opposite sex.

Sadly, and all too typically, it excluded too many prominent Republican politicians. Their cowardly silence on the abortion issue while Democratic banshees shrieked about the dawn of Handmaid-hood cost the GOP dearly in the 2022 midterm election. The party’s losses emboldened the Democrats to become even more bloodthirsty. At least, Republicans took over the House of Representatives with just enough conservative members to make a momentous difference.

Last week, the new House passed the Born-Alive Abortion Survivors Protection Act that would ensure life-saving medical aid be given to babies blessed enough to survive their attempted murder. Republicans voted unanimously to ensure a 220–210 victory. Who were the soulless monsters who could oppose such a humanistic bill? Every single Democrat minus two (Henry Cuellar and Vicente Gonzalez), both Texans.

The former “Father” Frank Pavone, the national director of Priests for Life recently defrocked for his anti-abortion political activism (“We have to elect public servants who know the difference between serving the public and killing the public”), validly condemned their party on Sunday’s The Ben Shapiro Show, with a sideswipe at the current shaky Catholic leadership: “When I see the Democratic Party destroying life, destroying religious freedom, destroying America, destroying our history, our memory, our symbols — when the Church stands up and points with a very clear finger, ‘This is evil,’ that’s not the Church being political. That’s the Church being the Church.”

The holy crusade to defeat abortion is not only for the clergy, politicians, media influencers, or, even, the grassroots. It must be joined by artists rebelling against our elite — the gatekeepers who control the arts and pollute them with the aforementioned leftist lies. The DEI (diversity, equity, and inclusion) before and behind the camera has made Hollywood into a hollow, hideous shell of what was once magnificent.

Today, untalented, quota-filling zombies go about their flopping business pretending that crowds want to see the garbage they’re producing and the liberal messages they’re sending. Last year, the entertainment industry lost $500 billion in market value, down from $1.35 trillion. Woke Disney fell 40 percent; its stocks, more than 50 percent. And nobody watched the 80th Golden Globes last Tuesday, whose viewership plunged 70 percent from 2021 to a skeletal 6.2 million.

Who needs Hollywoke? Last week, a smart producer asked me to revise the screenplay adaptation of my novel, Paper Tigers, for his conservative independent production company. It’s a romantic comedy about two ideologically opposed yet chemically attracted interns at the Washington Post — a cowboy conservative and a feminist beauty. The producer thought the girl’s pro-abortion stance should soften by the end, because — unlike most of his peers in Hollywoke — he respects his traditionalist audience. We both liked what I came up with. In the end, the movie didn’t go with his company. But the audience is still out there and will soon be rewarded.

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