By Rich Lowry
Tuesday, September 19, 2017
Donald Trump, much to his chagrin, never won an Emmy for The Apprentice, but he can now take
indirect credit for a clutch of the awards.
The Hulu series The
Handmaid’s Tale won eight Emmys on Sunday night, a sweep fueled, in part,
by the widely accepted belief in liberal America that the show tells us
something about the Trump era.
Based on the 1985 novel by Margaret Atwood, the series
depicts a misogynist dystopia. Christian fundamentalists have established a
theocracy that — after an environmental debacle craters the birth rate — forces
fertile women, called handmaids, into sexual slavery.
Set in contemporary America, the show combines the
atmosphere of The Scarlet Letter with
1984. It is bleak, plodding,
heavy-handed, and occasionally gripping. What has given it extra oomph is the
trope that it is relevant to Trump’s America. This is a staple of the
commentary, and everyone involved in the show’s production pushes the notion.
According to Atwood, people woke up after Trump’s
election “and said we’re no longer in a fantasy fiction.” The series is indeed
highly relevant — as a statement on the fevered mind of progressives.
The president doesn’t want to impose his traditional sexual
morality because, for starters, he doesn’t have any to impose. His critics are
mistaking a thrice-married real estate mogul who has done cameos in Playboy
videos and extensive interviews on The
Howard Stern Show with Cotton Mather. He isn’t censorious; he’s boorish.
“I thought this could be a great cautionary tale,”
director Reed Morano says of the show. “We don’t think about how women are
treated in other countries as much as we should, and I guess I thought this
would raise awareness.” Fair enough. The
Handmaid’s Tale does have something to tell us about, say, Saudi Arabia.
But, in an uncomfortable fact for Christian-fearing feminists, none of the
world’s women-hating theocracies are Christian.
Elisabeth Moss, who won an Emmy for her portrayal of handmaid
Offred, warns of “things happening with women’s reproductive rights in our own
country that make me feel like this book is bleeding over into reality.”
What this means is that Republicans want to defund the
nation’s largest abortion provider, Planned Parenthood, and roll back
Obamacare’s contraception mandate. If they succeed, this would mean less
government intervention in matters of sexual morality, rather than more.
The progressive mind is unable to process that it has won
the culture war in a rout (except for abortion, where conservatives are trying
to chip away at our extremely liberal laws at the margins). We live in a
country where Christian bakers get harried by government for politely declining
to bake cakes for gay weddings, yet progressives still believe we are a few
steps away from enslaving women.
For sheer obtuseness, it’s hard to beat executive
producer Bruce Miller’s comment about a protest scene from the show that has
been compared to the anti-Trump Women’s March. “You’re seeing exactly the same
signs,” he told Vanity Fair, “exactly
the same images, and you’re also seeing Capitol police with guns, not firing
them, thank God, but it’s the same image.”
Actually, it’s the opposite image. There’s a vast
difference between the forces of a totalitarian state crushing a protest, as
happens in the show, and police maintaining the peace during a demonstration in
a robustly free country, as occurred right here in Donald Trump’s USA.
According to Atwood: “If you’re going to get women back
into the home, which some people still firmly believe is where they belong, how
would you do that? All you have to do is remove the rights and freedoms that
[women] have fought for and accumulated over the [past] 200 years.”
Yeah, that’s all
you have to do. Atwood doesn’t explain who, straw men aside, actually wants
to do this, or how they’d go about it. She wrote a book that, despite her
intentions, has become a cautionary tale about how sophisticated people lose
their minds.
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