In "Death of a Nation", the latest filthy documentary screed from Dinesh D & # 39; Souza's fake-historical news factory, there's an amazing section in which the filmmaker shows off the legal statutes of Nazi Germany's thesis : American liberalism was and is the ideological sibling of the Third Reich. (Yes, that's what he really says, and no, you can not do that.)
"Check out the official Nazi platform!" Says D & # 39; Souza, whose recitation of the official Nazi platform is just going on the only set of facts "death of a nation" gets right. Here are some of the rules he quotes: "Money lenders and profiteers who are punished by death … State control of the media and the press … Confiscation of land without compensation … State control of religious expression." Then D & # 39; Souza, in his chant Hey kids, let me tell you a story about history! Way, makes the following statement: "This reads like something written in common by Elizabeth Warren and Bernie Sanders!" And all you can think is: It does? In Death of a Nation, Dinesh D & # 39; Souza no longer preaches to the chorus; He preaches to the mentally ill. So distanced from reality are his "philosophy", his chair-anger and his passionate and consuming desire to be a radical right-wing enemy.
It's tempting to call "death of a nation" outrage But that's exactly what D & # 39; Souza wants. Scandalous untruth is not just his profession ̵
This is how brainwashing works in a nation that has begun to distort reality from top to bottom. And so Dinesh D & # 39; Souza always worked when he returned to his campus time in Dartmouth as a Conservative Red-bellied Conservative. But in "The Death of a Nation," you can see D & # 39; Souza standing on the shoulders of Donald Trump's ascent to make the works even more shameless than anything he has done before. He recapitulates parts of his liberal-bashing dogma from his three previous documentaries "2016: Obama's America" (2012), "America: Imagine the World Without Her" (2014) and "Hillary's America: The Secret History of the Democratic Party". (2016), but "Death of a Nation" breaks through a whole new slime sphere of exaggerated ideological vilification.
The stunning thesis of the film states that postwar American liberalism is nothing but a National Socialism. "American progressives have hailed Hitler's rise to power," says D & # 39; Souza in his gee-whizz-faux-professorial tone, as if he were finding out a fact. The film then goes on to say that Hitler was a left-wing zealot whose violent dictatorship expressed his plunge into "Bohemianism," as indicated by the fact that "Hitler and Lenin both visited the same pub"; that Josef Mengele, the monster from Auschwitz, was a "progressive" because he performed abortions after the war in South America; that FDR and Hitler were a society of mutual admiration because they recognized each other as progressive combatants; that Hitler stole the idea of exterminating the Jews from the Native American genocide, which D & # 39; Souza accuses – all of it – of the Democratic Party; and that, leaping for several decades, dog-and-whistle racism, known as the Southern Strategy, started from Nixon-era republicans to win the votes of the Southern Democrats (a tactic that several of Nixon's followers across the White House Record tapes as confirmed) never happened.
It may be irrelevant to ask if D & # 39; Souza believes this trash. Maybe he does that and maybe not, but one way or another, like his idol Trump, he's a jerk who plays truth games. In essence, he says, "See what I can get away with! In the post-reality society, I can say anything I want to make the liberals waver!" He also says, of course, that his fans are kind of witty There are fools who follow him from every cliff. "Death of a Nation" is a conspiracy book filmed in a boulevard frenzy, but that's why it's likely to be another success story of D & # 39; Souza. Today scandalous "news" such as "FDR: Secret Nazi Sympathizer!" Easier than real history.
D & # 39; s Souza, who works with co-director Bruce Schooley for the second time, may be a primitive documentary, but he is a cunning self-promoter who does not trump Trump's election victory, complete with endless, nose-wearing mounts liberal Adding experts in speechless agony and the thought, "I was happy he won, my film" Hillary & # 39; s America, "an exposé by Hillary and the Democratic Party, played a role!" Much of the film is D & # 39; Souza reads thoughts from his books "The Big Lie" and "Death of a Nation", as we see pictures of him wandering New York in a long winter coat, looking thoughtful. He is the right academic troll who cares …
D & S Souza is still trudging the half-baked nonsense he's been selling like an oily lawyer for years. His favorite pastime is recognizing the sins of America, which most bitterly outrage Liberals (such as institutional racism) just to "turn the tables" and throw the same sins to the Left and all the actions of the Democratic Party from the days of reconstruction to neutralize Hillary Clinton's candidacy, and to do it with a connecting-the-dots fairytale logic that is as complacent as it is simple. The fact that Abraham Lincoln, America's largest president, was a Republican, is used as evidence of the eternal honor of D & # 39; Souza's side. In "Death of a Nation," he photographed an actor who plays Lincoln in his field-by-the-wheat field shooting, calling Lincoln a noble "disruptor," which is why others [19459005DisruptorDonaldTrump
The sin of slavery, according to D & # 39; Souza, is that it was "socialism": all part of the great democratic conspiracy to separate people from their merits. According to the film, the true crime of American slavery had nothing to do with race; It was about stealing work. This is an obscene argument – and in its ugly way an absurd one. Nevertheless, D & # 39; Souza allows a racist case against liberal "racism" while winking at his own racism. This is a masterpiece by Hater Jiu-Jitsu.
Is D & # 39; Souza still guilty of democrats after slavery and Nazi genocide? (His next documentary should be about how serial killers are secret socialists.) The key strategy of "Death of a Nation" is, of course, that it's a sophisticated distraction tactic. D & # 39; Souza's lying fusion of liberalism and National Socialism is really his way of denying the white racism that lies in the midst of the Trump presidency. At one point, in the midst of all the Randakademiker he interviews, D & # 39; Souza teamed up with Richard Spencer, the white racist and old-timer, who became mainstream during the riots in Charlottesville on May 13, 2017.
Spencer is not the ironically portrayable racist demagogue of her father (David Duke). He is strikingly urban – he looks and sounds like a Soho Art Gallery assistant from the early nineties. And with a clear overlap between the racism he waged in Charlottesville and Donald Trump's persistent zeal, D & # 39; Souza makes his tortured ideological backflip to prove that Spencer really has nothing to do with Trump at all , According to D & #; Souza, Spencer is another of those dreaded "progressives" whose dream of a white America is only state control. Spencer = Hitler = Bernie Sanders = The Easter Bunny. In "The Death of a Nation," Dinesh D & # 39; Souza expands the truth in a way that hurts your head (and turns your stomach), though its most peculiar achievement is to totally condemn a white racist, but completely out of the wrong reasons. He can not even hate a hatred without doing it hateful.