What I’m about to say won’t be popular, but I’ve never been one to chase acclaim or write anything for the sake of people agreeing with me. I’ve said this more than once: I don’t write for anyone but myself, and this time is no exception. I had to consider my reaction to the news that two right-wing activists rushed the stage in New York City during a performance of Julius Caesar.
The play has drawn controversy, because the title character apparently resembles President Trump.
At first, I thought it was a non-story.
There was a small part of me that even laughed a bit, because I admire the refusal to allow the left to normalize violence against the right – especially after the terrorist assassination attempt from a few days ago, the call for the murder of the President from a frothing, sub-cretinous zealot writing for the HuffPost, and the pasty, fat Twitter bitch proudly launching the #HuntRepublicanCongressmen hashtag after Hodgkinson’s rampage.
But then I walked myself back a bit. What was I thinking?
I was reacting in little more than revenge, stroking a quick schadenboner at the idea of fighting back. But this isn’t fighting back. This isn’t even close.
This is Julius Caesar. The play existed long before Trump.
A few years ago, the same play was performed in a modern vein, with the title character resembling then-President Obama.
This isn’t anything new and different. Shakespeare’s plays are constantly being adapted to modern times. Coriolanus with modern weapons and Serbian landscape, O with Julia Stiles and Mekhi Phifer, modern dialogue reenacting Othello at an elite private high school, The Lion King (if you can’t see Hamlet in that one, I can’t help you), the modern version of The Taming of the Shrew with the late Heath Ledger and Julia Stiles (directors love her for these types of roles, I guess), and the numerous times Romeo and Juliet been redone with a modern flavor, including West Side Story and the odd, but interesting Leonardo di Caprio/Clare Danes film from the 1990s,
This is art. It’s what art does. It reflects modern life, it adapts, it recreates classics for modern audiences, it constructs unique interpretations.
This wasn’t a leftist attempt to somehow normalize violence against the right. Julius Caesar is an inherently political play, and lest we forget, Caesar is assassinated in the middle of the production, the conspirators are forced to flee, and Brutus is filled with doubt and remorse at betraying Caesar until the very end and his suicide. The play does not advocate political assassination. It shows the aftermath of betrayal.
But that didn’t matter to Laura Loomer and Jack Posobiec, who decided it was their right to interrupt others’ work and artistic efforts to spew their froth flecked rhetoric.
This wasn’t courageous protest. This was an obnoxious stunt that interrupted a work of art. Whether or not you agree with the portrayal of Caesar as Trump – and whether or not you agreed with the 2013 portrayal of Caesar as Obama, it’s art, and these two poo-flinging, froth-flecked chimps had no right to interrupt the play and to try and stifle others’ artistic expression.
There’s no excuse for it. Much like there’s no excuse for Antifarts disrupting peaceful speeches and demonstrations, there’s no excuse for these two incoherent loons disrupting a public performance.
Loomer and Posobiec had no right to that stage. They had no right to interrupt that play and to take a large, steaming dump on the work of others. This wasn’t them exercising their freedom of speech. This was two right-wing assholes acting exactly like the left-wing assholes we criticize for their attempts to shut down voices of dissent.
No, they did not stand up to political violence.
No, this was not a Trump assassination play any more than it was an Obama assassination play four years ago.
I wouldn’t expect Trumpanzees to exhibit deep thinking on any level, but I would at least hope they’ve read Shakespeare in what passes for whatever institution of higher learning that saw it fit to give them their respective degrees.
These two jerks disrupted a Shakespeare play, because their tender snowflake labia were chafed at the main character’s resemblance to the President.
They did it for attention, and now they’re asking equally ignorant supporters to pay legal fees for their obnoxiousness.
What makes them different from any prognazi who disrupts peaceful assemblies or screeches to shut down speech it doesn’t like? What makes them different from Trigglypuff?
Here’s a clue, snowflakes. It doesn’t, and they aren’t.
They were butthurt that their deity in the White House was somehow portrayed as the subject of an assassination. They obviously haven’t read the Shakespeare play. They obviously haven’t seen previous versions, including the one in which the title character was a tall, black man with an obvious resemblance to Barack Obama, and if they did, it certainly didn’t offend them enough to disrupt the performance.
They figured given the inexcusable antics by Kathy Griffin, Madonna’s admission of wishing to burn down the White House, Snoop Dogg’s video in which he shoots Trump in the head, and other violent, cowardly celebutards, they had a free ticket to a bit of asshurt, howling snowflakery.
These two cheese dicks did what any screeching, fascist progtard would do. And there are supporters out there who are raising money for Loomer’s legal defense?
First, it’s incendiary political speech. Then it’s Shakespeare. I can’t wait until these perpetually offended loons start protesting The Lion King for portraying the assassination of a benevolent orange and ginger leader by his evil sibling. Pretty soon we will become a vanilla society, afraid to offend anyone who screeches loudly enough, facing fines for uttering a bad word, and afraid to speak our minds in public.
What these two did was emulate perfectly and with a not insignificant amount of tone deafness everything we hate about the fascist left.
Congrats, Loomer and Posobiec. You’ve become the left.