The recent cultural madness and subsequent campaign of distortion surrounding guns in America — framed on one end by the Sandy Hook massacre and on the other end by the manhunt for murderer-turned-leftist-icon Christopher Dorner — offers a chilling example of the selective outrage and cynical manipulation employed by the cultural elites of our country, from the president and the White House to Hollywood and academia. Taking very seriously Rahm Emanuel’s candid remark that “You never let a serious crisis go to waste,” these institutions have wasted no time in exploiting both the anguish of grieving parents and the endless reservoir of manufactured racial grievance and entitlement that keeps this county hopelessly divided, to the benefit of leftist agitators.
Sandy Hook, we are told, is the product of a lawless and renegade gun culture, the logical culmination of right-wing anti-government paranoia on the part of delusional survivalist preppers, goaded on by the Tea Party and Fox News. Deftly equating conservative suspicion of ever-expanding government with the extreme mental illness that spurred the shootings, politicians and the media seize on Sandy Hook as an opportunity to simultaneously demonize conservatives and impose sweeping new laws and regulations on everything from guns and ammunition to parental rights and mental health procedures, all without regard to constitutional guarantees or even, in many instances, legislative process. The Left and their media allies engaged in similar rushes to judgment over the shooting of congresswoman Gabby Giffords and the Aurora massacre, with any number of right wing straw-men implicated before any facts were actually known.
In this fog of confusion and media-fueled misinformation, an alarming number of talkers on the Left not only fail to hold accountable the murderous and deranged Christopher Dorner and his growing horde of cultish followers and apologists, but they also excuse his brutal murders and the paranoid manifesto that justifies them, going so far as to equate his rampage with the stated aims of the social justice movement and likening him to Robin Hood and Django, the trigger-happy protagonist of Quentin Tarantino’s latest cinematic celebration of blood and slaughter.
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