NEXT ISSUE: HOW ABC'S "BLIND JUSTICE" IS REALLY A PLEA FOR PROMPT CONFIRMATION OF FEDERAL JUDGES. Thanks to Sun Myung Moon's top-down management style, even a simple review in the WashTimes of the Virginia Opera's Faust reflects the new realities:

...The nasty scene where Faust bullies the frantic Marguerite borders on the blasphemous, but proves a dramatic necessity, propelling the work toward its beatific vision of redemption. The work's emotional portrayal of moral conflict is sometimes derided by modernists as decidedly out of touch with contemporary sensibilities. Yet it somehow resonated strongly in this production, perhaps unintentionally illuminating Pope Benedict XVI's recent condemnation of the "dictatorship of relativism," and casting this opera in an entirely different context.

Perhaps unintentionally? Did they bring in wind machines and sand dunes to portray Faust's wanderings through "'deserts' of sprituality"? When Marguerite was swept into heaven, did Roy's Rock rise in her place? Was Mephistopholes given a fat suit, a movie camera, and a Flint, Michigan cap?

More to the point, why might Moon, who has already declared himself Messiah, pump up his competition? Perhaps he hopes to lull Benedict into a false sense of security -- then, when the Pope least expects it, out come the thunderbolts and all the glory associated with end times.

Maybe Benedict's in on it too, and they plan to put their apocalyptic death-match on pay per view.