Leave it to liberals like Michael Moore to shout “freedom of speech” and approve the depicted assassination of President Trump in New York City’s Shakespeare in the Park’s “Julius Caesar” production, which has since lost funding from sponsors, but Michael Moore supports them anyway.
After it lost funding from sponsors, such as Bank of America, filmmaker Moore, who is making his Broadway debut this summer in a solo show, says he will donate $10,000, which is really for his own liberal gain.
Moore says he’s donating the money — his advance pay for the show “The Terms of My Surrender” — to the Public Theater program after corporate sponsors Bank of America and Delta pulled their sponsorship of “Julius Caesar.”
The production, which closed on June 18, portrayed the assassinated title character as a Donald Trump look-alike. Protesters interrupted two live performances and were arrested after storming the stage. Police also are investigating threats made against the wife of the play’s director.
Via Twitter, Moore shared an image of a check he made payable to the New York theater as a donation which is really his liberal attack against conservatives and corporate companies who felt the play was a disgrace.
So here's my donation & sponsorship to The Public's Shakespeare in the Park in support of their right to free speech pic.twitter.com/obmzrpJAtD
— Michael Moore (@MMFlint) June 27, 2017
Moore on his Facebook page said, “In a time like this, it is important that we stand up against any attempts to censor art or free expression, especially by denying this expression the funding that it needs,” said Moore. “As one who is about to stage my first theatrical event on Broadway, neither I nor anyone else in the theater should feel intimidated by what’s happened here or ever worry about how much control certain sponsors or investors have over our work.”
Moore said his $10,000 contribution represents the total advance he’s received for the Broadway debut of the one-man show he’s written and will perform beginning July 28 at the Belasco Theatre.
“It’s not a lot considering what is needed to fund America’s most influential and iconic free Shakespeare festival,” added Moore, “so I will reach out to the millions who follow me on social media and to others in the filmmaking and theatrical communities to help raise thousands more.”
Of course, many of the liberals shout and complain that nothing was said when New York City’s Shakespeare in the Park’s “Julius Caesar” featured a look-alike of President Obama but there was a reason and Jack Kerwick of TownHall explains why.
There was no public outcry, hardly any media attention at all paid to Melrose’s version of Julius Caesar, for the production company made a conscious decision to keep it a secret of sorts.
There is one other fundamental moral difference between the 2012 and 2017 productions.
The political landscape was such in 2012 that Melrose believed it plausible that—I’m not making this up—those affiliated with the Tea Party, “Birtherism,” Mitch McConnell’s GOP, and/or—wait for it—the Cato Institute could be “so passionate about their beliefs and find the current situation so dire that they would resort to assassinating the president [.]”
In reality, of course, no one from any of these groups ever so much as threatened Obama or any or his supporters. Tea Party rallies looked like Memorial Day and Fourth of July parades, with participants leaving public areas cleaner than they found them.
The reality in the Trump-era couldn’t be more different. For well over a year, beginning well before Trump even received his party’s nomination, leftist thugs, many of whom were financed by leftist billionaires like George Soros and coordinated by Democrat Party operatives, have been crashing Trump’s rallies and attacking his supporters. With the rise of the leftist terrorist organization “Antifa” (“antifascist”) and its affiliates, this climate of violence against all things Trump and Republican has only intensified, culminating very recently in the attempted murder of dozens of Republican congressmen.
When the slaughter of Trump-Caesar is read against the backdrop of the larger political climate, it is understandable, even justifiable, that people should view Oskar Eustis and the New York Public Theater as indulging the left’s fantasies of President Trump’s murder.
In other words, as I suspected, the analogy between these two productions of Julius Caesar is a false analogy.
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Kerwick’s explanation will never satisfy the liberals because after all, President Obama was their hero; they love Socialism and communism, and everyone on the right of politics are the enemy.
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