Anomalies like American Sniper drive the liberal press crazy with fear that they are losing control of the media, Steve Sailer suggests:
One possibility is that artists and entertainers are less monolithically on the left than you might think, but are kept in line in public by stifling peer pressure.
For example, by now Spielberg ought to have earned himself a fair amount of deference from his fellow liberal Democrats for being a credit to his political persuasion. But even he doesn’t seem able to admit that his upbringing in the red state of Arizona saddled him with a lifelong love for guns.
A more subversive theory is that art is inherently anti-egalitarian, that the entertainment industry thrives by elevating individuals to levels of mass adoration that Belshazzar of Babylon would have found excessive. In turn, the entertainment industry adopts a bogus ideology of promoting equality to cover up its essential tendency toward Caesarism.
For example, this combination of exhortation and megalomania has been apparent for 99 of the 100 years that Hollywood has been making epic films.
Early March will mark the 100th anniversary of the original box office smash, D.W. Griffith’s denunciation of the rape culture of the Reconstruction Era, The Birth of a Nation. Stung by criticism from the NAACP, Griffith released in 1916 a more politically correct and even more ambitious blockbuster, Intolerance. It retold four stories of bigotry and oppression, from ancient Babylon down to the present day.
I’m sure that everybody has taken Griffith’s sermon against intolerance deeply to heart, but, honestly, the only thing anybody remembers from the movie is the Babylonian set that Griffith spent his Birth of a Nation profits constructing.