Monday, December 01, 2008

RETURN OF THE CULTURE WARS. I had worried that it would come to this. They did it so often when they were in power that I had reason to hope that, once they went into the ditch, they would concentrate on Conservatism 2.0 and other such innocuous hobby-horses. But like a bat out of heck comes Jonah Goldberg talking about how TV showz he likez is really conservative:
But look at ["The Wire"] through the eyes of a conservative. This is a Democratic city, run almost uniformly by liberals... Race relations between the actual characters are remarkably healthy, and nearly every mention of race as a salient issue is in the context of the political nonsense inherent to Baltimore, or rather urban, Democratic politics. To the extent many liberals try to explain all of the problems of poor blacks on racism, the show was a powerful rebuttal.
I forget whether the political parties endorsed by Tom Doniphon, Stoddard, and Cassius Starbuckle are made clear in The Man Who Shot Liberty Valance, but I'm sure these are central to Goldberg's point.

He's actually on the brink of something when he says "most [liberals] no doubt liked it in no small part for the same reasons I did: it was brilliantly written, wonderfully acted and almost perfectly directed." (I'd like to hear what, in his view, prevents the directing from achieving perfection. On second thought, I'd rather not.) If only he could follow that train of thought far enough to consider why people of different political faiths would be moved by the same work of art.

But Goldberg's so addicted to explaining why everything good in life is right-wing that he is moved to make nonsense statements like, "Sure, the makers of the Wire are for ending the drug war, but their vision of drug use is hardly the cheery nonsense you hear from some champions of legalization."

If he were engaging the show rather than trying to protect it from his own preconceptions, he wouldn't wind up in such preposterous rat-holes. Too bad no one can explain to him that the traditional critical approach requires much less grinding effort -- he'd be on it in a second.

He threatens to give "Deadwood" the same treatment. Gack. Expect a lengthy disquisition on how Hearst was the real hero of the show.

No comments:

Post a Comment