It’s my guess that with the protests from GLAAD gearing up, ABC felt it would be hopeless to try and defend (note to Canada, you can probably take Detroit).

It also bespeaks a certain prejudice inside of GLAAD who has never said a word about Tyler Perry, Martin Lawrence or Eddie Murphy (who was once known to be quite transvestite-friendly despite his transvestite comedy). Of course, GLAAD has never been terribly courageous about confronting the black community. Political correctness forbids crossing racial lines.

This might reveal a hint as to why GLAAD felt empowered to attack “Work It.” The plot revolved around two men who are forced into women’s clothing just to get a job. Don’t they know that only women are discriminated against in the workplace (and only make three-fourths of a man’s salary)? Perhaps the writers’ ignorance of Women’s Studies 101 made GLAAD think it had been written by conservatives.

“Work It” seemed more of a rip off of “Bosom Buddies,” an equally forgettable sitcom remembered chiefly for launching the careers of Tom Hanks and the other guy, whose name I can’t remember (I think it was Andrew Ridgeley).

I don’t take issue with ABC for pulling the plug. Only half the audience from the show’s premier came back for the second episode (personally, I didn’t even make it to the first commercial). But that doesn’t mean transvestites aren’t funny; they have been a staple of comedy for generations.

I imagine that the first man in a dress routine predated Milton Berle, but that’s all the further back my ambition will let me research (Berle’s tag was the biggest thief in comedy, so I’m quite certain it wasn’t original). The memory of Uncle Miltie trying to walk in high heels, while smoking a cigar, still makes me laugh to this day.

I know that He-Shes were a very popular portion of Circus sideshows and would probably still be today if television hadn’t killed the freak show.

Some of the great movie classics were based on the gender reversal. “Some Like It Hot” saw Tony Curtis and Jack Lemon playing remarkably attractive women. Writers would often find an excuse to put Cary Grant and Bob Hope in women’s clothing, and who can forget Gilligan insisting that he’s not going to dress like a girl? (“You can’t make me, you can’t make me…”)

Probably the funniest cross-dressers were the cast of “Monty Python.” Originally excused by the performers as a means to keep the show under budget, the female characters played by the all-male troupe were some of the show’s most comical moments. It started a tradition in television that inspired other great comedies like “Kids in the Hall,” “Little Britain,” and “Portlandia” here in America.  Whereas the Pythons were farcical, modern men actually seem to have mastered the art of playing convincing women. Today, Eddie Izzard packs the theaters doing straight stand-up in full drag.

For the comedy geeks, the reason why drag is funny is because putting a man in a feminine role gives the performer the ability to illustrate the difference between the sexes. It is funny to the eye, but it also allows the performer to make a comic statement about how men and women are expected to act.

Ultimately, the Transgenders of America are tired of being laughed at. They think that if we raise enough awareness, a three hundred pound woman with an Adam’s apple will stop being funny. Unfortunately, it’s just not the case.

It is the most ridiculous idea I’ve heard of since a friend suggested that his Solitaire playing during work hours was a way of familiarizing himself with how to use a computer mouse.

The idea that there is nothing on the Internet that appeals to people in the inner city is ridiculous. It’s based on a faulty premise that somehow inner-city people are different than others; that TV dramas about fabulously rich people, attractive lawyers, and doctors who never get messy are only appealing to white suburbanites; that people living in poverty want to see a story about living in poverty. If this were true, comic books wouldn’t be about superheroes; they would all be about pimply fat boys with thick glasses who get beat up on the way to school.

According to the article, One Economy has spent $18.9 of the $28 million granted and has created 142.47 jobs. But more importantly, they generated YouTube hits. In fact, Episode One of “Diary of a Single Mom” almost generated five thousand hits (which I expect to increase dramatically after this post).

But in the era of social networking, there are things more important that attracting an audience. “Diary of a Single Mom” has also generated fifteen thousand Facebook likes, which is almost five percent of the likes generated by MSNBC, the lightly viewed cable news station, whose bottom-of-the-page ratings make them easy to find on the Nielsen charts. “Diary of a Single Mom” also has more than 600 followers on Twitter (which embarrassingly, is more than me).

If the intention was attracting under-served communities to the Internet, I could suggest a few more:

Senior citizens are still having a difficult time figuring out how to use the menu buttons on the TV remote, much less a mouse. Let’s set up online slot machines to get more senior citizens online. As an added bonus, we could hook up the slot machines directly to the Social Security Administration so their monthly checks would be directly converted to tokens, thus eliminating the need for greedy capitalist banks and greenhouse gas emitting shuttle buses.

Despite using libraries for daytime shelter, few homeless people have found interest in the computer stations that are installed in every public library, because most library surfing is limited to educational information only. If we simply remove the firewalls on public library computers, the homeless will take a new interest in nude photography and short-subject films.

While most of our technology is manufactured in China, few Chinese citizens have unfettered access to the Internet. It’s a shame that our debt holders cannot fully access the Internet. Since they paid for “Diary of a Single Mom,” they should at least be able to monitor their investment. Furthermore, we should build a China-accessible site on Tienanmen Square that goes into details well beyond the mausoleum of Chairman Mao.

Millions of people cannot access the Internet, because they have jobs and responsibilities. Mandate that employers allow employees to at least ten minutes every hour so they can catch up on the latest Internet fads. It will teach them how to use a mouse.

Throughout the three-year history of this space, we’ve posted countless stories about the Hollywood blacklist. In the American capital of free speech and tolerance, conservative leanings are tantamount to career suicide.

We know most Hollywood conservatives keep it in the closet, but it turns out there is one secret far more dangerous — a secret so closely guarded among the trade unions, a lawsuit was filed to prevent a website from leaking the data. That big secret is actors’ real birth dates.

As movie audiences have become younger, movie roles for the elderly have become quite sparse. Being a Hollywood star is a really sweet gig, kinda like being a rock star in normal clothes. Who would ever want to give it up just because Father Time is sounding the gong? It’s a lot like the new film ‘In Time,’ where you’re dead at twenty six unless you have enough money to fix yourself.

Through the use of computer graphics, actors can still be action heroes long after receiving their AARP cards, and thanks to high-tech plastic surgery, actresses who should be eating brunch with a host of ladies in red hats can still work nude. So when IMDB started publishing birth dates on the Internet, well, you can just imagine the chaos that ensued.

In a town where a woman like Cher (born May 20, 1946) still wants to play a single mom, revealing birth dates can be tragic.

Adult teenagers have been the norm in Hollywood since a middle-aged Mickey Rooney (born September 23, 1920) took Judy Garland (born June 10, 1922) to the high school dance. The trend continues today with women old enough to be mothers playing sisters and women old enough to be grandmothers still playing mothers.

Hollywood is like a living, breathing, version of ‘Twilight,’ where actors are eternally the same age, and high school politics have deadly consequence. Perhaps that’s the reason why conservatism is loathed in Hollywood. It’s associated with previous generations, and those who subscribe to it are revealing their true age. An obvious tell that a teenager might really be a vampire is an affection for Buddy Holly music.

The funniest irony about this scandal:  it wasn’t too long ago, actors were linking up behind Julian Assange (born July 3, 1971) like a human centipede. They applauded the WikiLeaker’s brave stance, publishing information they thought was public domain on the Internet (although not many of them were thrilled when they learned their latest blockbuster was available on the Internet as well).

Michael Moore (born April 23, 1954) even choked up bail for Assange. Steven Spielberg (born December 18, 1946) offered to do a movie about his heroics. Everyone speculated that Sean Penn (born August 17, 1960) should play him and that Susan Sarandon (born October 4, 1946) should be cast as his mother, Christine (born 1951).

These people delight in sharing every intimate detail of their lives on tabloid pages, but a secret like how many birthday candles they’ve blown out in their lifetime is just intolerable. Something that is trivial to most Americans is garlic to the immortal vampires of Hollywood. It’s quite telling that our nation’s security is not as important to these people as their own vanity. They would rather see the nation fall to terrorists than let you know their real age.

That’s something that should be remembered by anyone who seeks Hollywood endorsements as voting criteria.

He was really concerned that with President Barack Obama’s dismal approval ratings the Republican primaries would become a winner-take-all contest, with the popular Christie making it all the way to the White House.

Louis believes that political satire is the finest form of the comedic arts, and he has seen it die twice over the last two decades. When the Monica Lewinsky sex scandal broke, every hack in America became a political comic just by appending Bill Clinton to their favorite oral sex gag. As we moved into the new millennium, comics who specialized in blonde jokes could call themselves political just by substituting President George W. Bush into the punchline.

With this new administration, political humor became very tricky, and only a few comics will attempt to make fun of the President. Heck, even the guys who did those “What if a Brother ever got into the White House?” routines were forced to write some original material or abandon the political arena altogether. Louis believes that the political edge of his club is part of what has kept him afloat three years into a recession.

But with the buzz surrounding Christie, there was suddenly a resurgence in hack political comedy. Late night hosts, who have been incapable of finding anything funny about a pair of big ears for the past three years, have stumbled on a new way to market fat-based humor.

This week, David Letterman speculated that Cristie was the only candidate you could view from space (gosh, Dave, no; “when he’d sit around the White House, he’d sit AROUND the White House” … or, “New Jersey would lose a zip code”).

For full disclosure, I have been guilty of the occasional fat reference. Usually though, it’s directed at Michael Moore, who happens to be the world’s fattest Communist (and takes more than his “fair share” of the pie, whether it be economic or boysenberry). I lamely excuse these jokes because the underlying theme is hypocrisy — the same reason why others might make fun of gay Republicans or Al Gore’s private jet.

So what will the comics do now they won’t have Christie to make fun of? Letterman took off running with the “Rick Perry’s Racist Ranch” angle; it seems that a painted rock at a hunting camp is enough to make him the token racist of this election cycle. Fortunately, there are a total of fourteen other Republican candidates to choose from, including a couple that will even allow jokes about race and gender (though oddly enough, racism and sexism are only derogatory when the candidate is a Democrat).

Personally, I think America is ready for a fat President. I’m tired of seeing Presidents jogging (shirtless leaders are so Eastern European). After three years of being told by Michelle Obama that we shouldn’t be eating like the First Family, I’d love to have a President who has more important things in mind than his daily carb count. We’re in a depression; who really cares about the President’s health?

Heck, that’s why we have a Vice President — to allow the President a vice.

In a Hollywood Reporter article, Hollywood plans to help their favorite President, by making the electric car cool. That is, if you really think Hollywood has that much power. It’s a classic chicken and egg story: is smoking cool because Humphrey Bogart did it; or was Humphrey Bogart cool because he smoked? Perhaps now that they’ve made comic book conventions cool, Hollywood believes it has gained super-powers.

Chris Paine, known for his documentary “Who Killed the Electric Car?” is now working alongside his former nemesis, with “The Revenge of the Electric Car.” If current lackluster Volt sales continue, Chris Paine might someday be the star of a third picture, “Who Killed GM?”

Unfortunately I can’t see anything ever making electric cars or Hybrids cool. My nephew Joey informs me that high school kids refer to the Prius with an affectionate name, more commonly used for feminine hygiene products. It’s like trying to sell Christian Rock: if the kids don’t think it’s cool, nobody ever will.

The perfect spokesman for the Prius was Larry David. A very successful self obsessed pseudo-environmentalist AARPager, is tired of people sneering over his use of private jets and his air conditioned McMansion. So he drives a Prius around town, to convince the world, he really cares about others. Definitely not cool.

Personally I can’t think of any way that Hollywood classics could ever fit an electric car:

Dukes of Hazzard: In the first episode, Boss Hogg catches the boys running moonshine whiskey across the county line. Sherriff Rosco P. Coltrane pursues the General Lee Honda Insight, and easily apprehends them. The rest of the series is based in the county jail.

Thelma and Louse: After an attempted rape on Thelma, Louise decides to emasculate the perpetrator, Harlan, by taking his picture behind the wheel of a Chevy Volt.

Rebel Without a Cause: Jim and Buzz have a chickie run, stealing a couple of Tesla roadsters and racing towards a cliff, to see who can jump out of the car last before the plunge. Both escape the vehicles in plenty of time to watch the cars go humming towards the precipice; before getting stuck on the rocks at the edge.

Grapes of Wrath; The Joad family packs up their electric truck, and head out for California. After about forty miles down Route 66, they run out of electricity, and spend the rest of the movie waiting in line with the other Oakies, for an outlet to become available.

American cars have been idolized in motion pictures because they’re fast and cool and powerful, and epitomize the freedom that founded America. Electric Cars are quiet and orderly, and need to report to an outlet every evening. They are a metaphor for conformity. If conformity was marketable, it wouldn’t be American films that the world finds so compelling, in fact it would be quite the reverse.

I understand where it comes from. Musicians usually become Rockstars by appealing to the common man. When they become rich and famous, they have to find ways to appeal to the demographic they abandoned. So they take up causes. Sheryl Crow feigns concern about the environment, for example, even though the energy required for just one tour could satisfy the energy needs of a small American city.

When Bruce Springsteen started singing about blue-collar teenage angst, he was an angry blue-collar guy, barely out of his teens. His jeans would fade from hauling amps, just like any other working stiff. A billion dollars later, he has to work hard to remember the old days; and like most Grammy winning musicians, has a Guatemalan sweatshop put holes in his jeans.

Unlike the other European Rockstars of the eighties (who are forgotten, but for their haircuts), U2 frontman Bono has been able to keep himself relevant for a generation with his Saint Bono routine. He is not just a champion of the working class, he is the superhero for the impoverished and oppressed peoples of the world. He has met with presidents and dictators, leaders of every political and religious stripe, and set up programs where you can still be a commercialist with a conscience by buying a Red™ iPod. He successfully petitioned 23 nations to forgive Third World debt; debt that will eventually have to be picked up by the taxpayers of those 23 nations.

But the truth is, he is, deep down still a Rockstar. Like any human, he wants to keep as much of what he earned to himself. So when we learn that Bono is moving his publishing facilities to a friendlier tax haven, the only question should be: why didn’t he leave years ago? (Actually that one is pretty easy to answer: Artists were granted full tax exemptions on royalties in Ireland; until the financial crisis made them reform their tax policies, and they capped the exemption at €250,000 in 2006.)

But for thousands of true believers, who think we can tax our way to social paradise, Saint Bono’s defection has been a rude awakening. Protesters plan to stage demonstrations during an upcoming U2 show Jun 24. Which shouldn’t be a surprise. The only question should be: why didn’t fans protest five years ago? This major Bono disappointment actually predates “Spiderman: Turn Off The Dark” by four years. (Actually that one is pretty easy to answer too: Pot.)

What these protestors do not understand is despite their ragged appearances, U2 is a billion dollar industry. He isn’t the first Rockstar to display such hypocrisy: John Lennon, who once asked the world to “Imagine no possessions,” moved to NYC in 1975 so he could keep a little more of his own; the nation of Lennon’s birth was more than happy to relieve him of excess possessions.  Mick and the boys took Rolling Stones Inc. to France about the same time, to avoid England’s 83% marginal rate. The Rolling Stones now keep their songboooks in the Netherlands, where royalties compound virtually tax free, and will be handed down to their long impatient heirs without a death tax.

Which is where Bono went. I really don’t begrudge them that. The Netherlands favorable royalties tax has been attracting musicians for years. (Oh yeah, they also have legal pot.) Burdensome tax policy does more to hurt a nation than to help it. Divided equally among the citizenry, U2s entire net worth would only buy a couple dozen pints per Irishman. Certainly having U2 stay in Ireland is better for the economy. They invest capital into the nation which create jobs rather than welfare programs, refurbishing the rundown Clarence Hotel, among other things.

It is disappointing that Bono did not move his publishing empire to America. We are a nation founded on the rights of property, so it would be a natural fit. Something is drastically wrong that our nation no longer serves as a tax haven for wealthy artistic refugees from Europe and Canada. There is something unfavorable about America, and I really don’t think you can blame George Bush for that.

Unfortunately, their enthusiasm might have caused them to jump the gun. Since last Thursday’s GOP debate was devoid of A-list candidates, “Saturday Night Live” didn’t have any solid characters to parody. So rather than make the late night ensemble work, the writers just fictionalized a debate between the more famous undeclared candidates; using characters they will probably be able to recycle during the upcoming campaign.

It was like watching a focus group, each actor trying out catch phrases they hope to use over the next year and a half. They even had Keenan Thompson resurrect his Jimmy “Rents 2 Damn High” McMillan character (personally I would think they could have gotten the real Jimmy McMillan, at or below AFTRA rates, which would have had the added bonus of making the skit funny).

For even less of a reason, they decided to trot out Tina Fey, to perform her award-winning impression that she thought was tired three years ago. This makes no sense. Sarah Palin doesn’t even have a Presidential exploratory committee; at least Jimmy McMillan once suggested that he would run for President as a Republican. Back in 2009, CNN thought it was necessary to fact-check “Saturday Night Live” for an Obama skit, I wonder what those fact-checkers are doing today?

Much like jokes about airline food and phone booths, Tina Fey’s impression seems like it’s from another era. I was puzzled why they didn’t bring in Rich Little to do his Nixon impression. If it’s okay to add Republicans who aren’t even running for President, why limit yourself to the living?

It is a strange turn in American history. Fueled in part by an administration that has given his supporters little to cheer about since November of 2008, there is suddenly an appreciation of the American Military in Left-wing outposts like Hollywood and Washington DC. It is a moment unparalleled. The news of Usama’s death was greeted by cheering throngs of bureaucrats filling Pennsylvania Avenue, ecstatic that Hope finally got something right. As details about Usama bin Laden’s compound leak out, even the most strident Liberals in Hollywood can get on board, since it has now been revealed that Usama burned his garbage on site, rather than recycling.

Even more peculiar, The Internets are all a twitter about a movie depicting the killing of Usama bin Laden. There is no doubt in my mind that at least several of these films will be made. In fact, the White House has already scripted the crucial moment, the big scene when His fist comes down on the desk and He demands the mission be launched in the most mannish voice he can muster: “It’s A Go”

Of course, the sixteen hours he took to sleep on it, will probably be deleted by Hollywood. Maybe it might be rewritten to include a scene where he goes off into the White House Garden and prays for guidance, while his advisors did the sleeping.

Since the passing of John Wayne, Hollywood has found it difficult to make any heroic war pictures. Most of the pictures since “The Green Berets” have portrayed the American troops as either the bad guys, mentally ill, or both. Even in the great WWII tributes by Tom Hanks, American soldiers were depicted more as crying boys, than heroic men.

Modern Hollywood prefers anti-heroes. In order for them to depict a real hero, he has to wear a mask, a cape, and his underwear on the outside of his pants. (And most often, have a touch of mental illness.) But I suspect something different will now happen. The men of SEAL Team 6 will be treated as genuine heroes in the mold of John Wayne. (Pardon my sexism, I don’t think there are any women in SEAL Team 6 — although my fondest hope is the last thing Usama saw was an unveiled woman looking down that barrel, a woman with an education and a driver’s license.)

The prime motivator for making these films is just around the corner. There is a need to keep these images fresh in the conscience of America for the remainder of His term, and a sincere hope that “It’s A Go” will become the “Yes We Can” of 2012. Expect most of these films to be released 60 days before November 2012. (And much like the downplayed enhanced interrogations that led to the mission, don’t expect the Left to credit Citizens United v. FEC for that window.)

It is the kind of rescue scene that Hollywood has adored since “Birth of a Nation.” Just as the evil Republicans are about to take over Washington, SEAL Team 6 rides over the horizon in a formation of helicopters to save the Presidency from it’s own incompetence.

Mr. Spielberg, line one…

“Secretariat,” a movie about the horse who won more awards than Al Gore, will not be in the starting gate at the Oscars, February 27. What could be the problem? It opened the weekend after the “Social Network,” so it wasn’t like the Academy of ADHD Artists had time to forget about it. It wasn’t that it didn’t have a good enough campaign team working behind it either. Disney pitched it right alongside “Toy Story 3,” a long-shot which actually made it into the Best Picture category, a rare occurrence for a cartoon.

Diane Lane put in an undeniably Oscar-worthy performance that recalls some of the most glamorous actresses of a Hollywood’s golden age. She played Secretariat’s owner, Penny Tweedy, with the poise of Grace Kelly, the brash of Katherine Hepburn, and the warmth of Donna Reid. John Malkovich should have been a shoe-in, with one of his quirkiest characters to date, as the trainer Lucien Laurin; a role that recalled some of the greater comedic sidekicks from the heyday of Disney like Don Knotts, Tim Conway, and Buddy Hackett

Perhaps the PG rating made it into a film that no one in the Academy bothered to watch. After “The Blind Side” took two nominations last year, the members of the Academy became aware of the disturbing trend of solidly entertaining family pictures that are uplifting and not vulgar. Perhaps a few more jokes about cleaning out the stables could have won a PG-13 rating and a couple seats in the Kodak Theater.

There were other things that the Academy couldn’t overlook. The film opens with a bible quote (which is about as welcome in Hollywood as a silver and garlic crucifix in Transylvania), and top-forty gospel music of the era is predominant throughout. There is also the portrayal of war protesters as children, something that probably got under the craw of Iraq War protesters within the industry. There is a wonderful scene with a group of stern-faced kids dressed up in a coolie costume chanting “War” while flying cardboard planes and carrying “War is Bad for Children” placards around A.J. Michalka singing “Silent Night.” While touching and beautiful it seemed almost condescending to the anti-war movement.

Of course, the Vietnam War was protested by children, but those who look back on those years tend to imagine themselves more mature than they really were. In the film they’re treated as being kind of cute. Penny tells her daughter, “Kate, our political beliefs can change, but our… our need to do what we believe is right… that doesn’t.  I’m proud of you.”

While “Secretariat” was a little corny around the edges, it was a good, solid picture. I found it at least as entertaining as “Inception,” which put me to sleep (I thought it was a special effect of the movie, kind of like 3-D, that you were supposed to nod off during certain intervals of the film, so you would be immersed in the experience–if putting you to sleep weren’t intentional, then Leonardo DiCaprio shouldn’t have been so boring).

Perhaps Hollywood takes issue with a movie where the heroes are upper-middle class white people, and the bad guy is an inheritance tax. Few in Hollywood are concerned with that tax, since legacies there are not always financial, and often squandered by heirs like Charlie Sheen. No one seems to understand the idea of holding on to a father’s memory, so perhaps the central theme of the picture was lost in Hollywood.

I was concerned that I might be thinking conspiratorially, until I read the Salon review by Andrew O’Hehir (that I won’t flatter with a link here, you can google it if you’re interested). In his review, he not only hit all the subjects I just did, but also expressed the danger of upper-middle class white people being portrayed sympathetically. He goes completely hyperbolic and compares it to the films of Leni Riefenstahl.

I think the biggest problem was the happy ending. Movies today are all supposed to end unresolved, in the event of an inexplicable sequel. While looked down upon as trite, a happy ending in 2011 is actually less predictable than the ending of the “Black Swan.”  You would think that Hollywood, who claims to push envelopes and cherish out-of-the-box thinking, would get behind such a revolutionary picture as “Secretariat.”

We’ve grown accustomed to hearing about people using police to rectify situations that used to be done with simple human interaction. So we shouldn’t be surprised, when a daughter of America’s most prominent conservative advances to the finals of a dance contest and some people petition the government for a redress of jitterbug. Though no action was taken by the government, according to a Smoking Gun article there were numerous emails and letters sent to the Federal Communications Commission regarding the move of Bristol into the final round of Dancing With The Stars.

The FCC grew out of the FRC, which was established in 1927 only to assign radio frequencies and licenses. But giving the Federal Government a little authority is like giving a gremlin a snack after midnight. Since then, the FCC has moved into a much more powerful position, determining what content can be transmitted on the “public” airwaves, and insuring that the voices heard are as diverse as an NPR Kwanzaa Party.

With the assorted class action suit commercials advertised on late night TV, people today are encouraged to collect settlements on damages they didn’t even realize they incurred. A recent law was passed  turning down the volume of commercials, an arduous task that heretofore required reaching all the way over to the coffee table and picking up the remote. So why wouldn’t Leftists appeal to the FCC to handle their dirty work against Bristol Palin and others?  

There have been numerous calls for the FCC to suspend the licenses of Rush Limbaugh and Fox News, two entities that do not require FCC licenses. The Party who thinks requiring proof of US citizenship in order to vote qualifies as a constitutional violation wants FCC licenses for Americans exercising their First Amendment rights.

Ultimately, what people are complaining about is democracy in its truest form. Rush Limbaugh is on the radio because 21 million people tune in every week. Fox News leads all other cable news channels by a margin wide enough for Michael Moore to slip through (while giving Kirstie Alley a piggyback ride). Bristol might have not been the best dancer, but more people wanted to see her in the final round than Brandy.

We all know it isn’t always the most talented who succeed. There are comics funnier than Dane Cook and better singers than Katy Perry. Yet both are at the top of their profession because they posses a couple assets that make them irresistible to the public (a similar argument might be made for the 2008 election).

For all the talk about the Right Wing being full of fascists, you never really hear the Right trying to censor the Left. If the FCC were inundated with letters every time a left-wing cause was advanced on network TV, one episode of The West Wing would have made FCC desks look like the final courtroom scene in Miracle on 34th Street.

There may be outrage from the right over a taxpayer-funded art installation or NPR, but such outrage is usually directed against the funding of these things. Most conservative Americans respect free speech, they just don‘t think they should be forced to pay for it. (In an age of record deficits,  children yet to be born will still be paying long after the ants have crawled off Jesus.)

As we move forward, into the new Congress, I expect the complaints to get louder. The left’s politics can only succeed in an intellectual vacuum, so Leftists strive to control the dialog. It doesn’t matter whether it’s a Communist dictatorship like North Korea, or a small Liberal Arts college, they instinctively know that free speech is the enemy of Marxism.

And if you can’t win a debate (or a reality show dance contest), arrest the opposition.