Television networks have not been subtle about hiding their disdain for people who do not believe in progressive ideology. Since “The Brave”was canceled by NBC in May, conservatives have very few entertainment options.
The Media Research Council highlights several television shows in this week’s fall action TV premieres that chose political correctness over storytelling. The shows decided to ignore the rhetoric of Antifa, the growing threat of gang violence in Democrat-run cities, or the deadly reality of radical Islamic terror. Instead, showrunners decided to target ICE, the rich, and the tired stereotype of white people in general as the main antagonists.
As the MRC reports, in the FX series “Sons of Anarchy” spinoff “Mayans MC,” a group of U.S. border vigilantes are portrayed as violent Mexican-hating white supremacists (complete with the Confederate battle flag). The entire premise is based on white Americans wanting to keep brown people from crossing into the United States. There is no discussion or reference to victims of criminal aliens involved in the drug cartels.
The season premiere of CBS’ “FBI” echoes this sentiment. After a bombing in Southern Bronx, the heroic agents at first suspect rival gangs until the bomb seems to match one used against a synagogue by a white supremacist group, a not-so-subtle reference to the leftist charge that white people are to be blamed for crime in the inner city. This theme continues throughout the episode.
Racial issues are not the only topic that television chose to portray in a left-wing manner.
Fox “X-Men” franchise spinoff “The Gifted” portrayed an armed group known as the Sentinel Services rounding up and shooting unarmed mutants. Series creator Matt Nix told EW that the group, “sure looks a lot like an ICE [Immigrations and Customs Enforcement] raid.” It is not mentioned that ICE has primarily been targeting illegal aliens that have criminal records.
CBS’ “Bull” shames protagonist Dr. Jason Bull (Michael Weatherly), director of a jury analytics firm, for accumulating wealth and being able to afford healthcare while his firm represents an insurance company being sued by a woman in need of a liver transplant. Several side-characters confront Bull about his wealth, saying that his own recent heart attack is not comparable to the woman’s issue, simply because he has money.
Network and cable television have been infected with politically correct programming, but there was always a form of subtlety to the stories they were trying to tell. This made the shows at least enjoyable, even if the audiences disagreed with the message.
The narrative is now shifting from the subtle to the obvious and it is not going unnoticed. The ratings indicate that viewers are putting up with it for now, but when Tim Allen’s sitcom “Last Man Standing,” regarded as a Pro-Trump show by both the Right and Left, was canceled, the audience outrage brought it back to a new network which saw the financial potential.
That is the key. If the viewers use the power of the remote, either to change the channel or turn it off, the networks will get the message because it will hurt where it matters most. Their wallets.