USA, Netflix and abortion

The news is big, but we doubt whether it concerns the distracted masses or the thoughtful commentators in the post-election resuscitation. Netflix, the big TV and film production company, urged by an association of actors, threatened Georgia to withdraw its investments from the state of the peanuts, the bastion of old Dixieland, if the new law on abortion is not withdrawn, more restrictive than the current one. The mercantile principle of economic sanctions as a weapon of war, much used by the United States, extends itself to the internal legislation, by initiative of a company of the glittering entertainment world. The decree which outrages producers and actors is called Heartbeat Bill and denies the possibility of aborting, indeed, in the politically correct wooden language, to voluntarily interrupt pregnancy, if the heart of the fetus, the unwanted future member of human species, beats regularly.

by Roberto Pecchioli

Georgia has become, after California, America's second movie set, the entertainment-related economy is important in and around Atlanta. Netflix blackmails and claims to act in defense of women working for its productions, "whose rights, together with millions of others, will be severely limited by this law", also heralding a legal battle against the provision. We do not intend to delve into the cultural debate on the crucial issue of rights, invoked by a communication company on a topic that does not concern its activity. We limit ourselves to one consideration: we believe a forcing treat abortion as a right. We do not have blinders, we recognize that in some circumstances the use of abortion may be necessary. But we firmly deny that the theme of life, its acceptance and its voluntary suppression, can be liquidated in terms of an undisputable subjective right to abort, from which is excluded both the society as a whole (the unborn child is a future member of the community) and the father of the life in formation, to which 50 percent of the creature's genetic heritage belongs, or, to use the materialistic language, of the clot of cells destined to become human.

Let's go back to the news. The first reaction is indignation: who is Netflix to stand as a judge of the sovereign decisions of Georgian political institutions? What common sense animates our time to make people accept - beyond the issue in question - such serious interference and, in general, prevent a moral revolt against the increasingly massive and unscrupulous use of private economic domination to blackmail power public? To those who attribute to some kind of "communist" Mohicans or to the Marxist left the worst tendencies of the time, we point out that Netflix is ​​a multinational of the show aimed at profit, which operates in a market society with billionaire turnover. The enemy, whether the last nostalgic patterns of the past like it or not, is there, in the heart of economic liberalism that has become universality, a compulsory, pervasive and totalitarian ideology. The punishment, for those who do not think like it, is economic ruin, condemnation to poverty through the withdrawal of investments. Literally, they remove blood from the veins: the liberalism of Dracula.

Understood a lot Karl Marx, considering the show, of which Netflix is ​​entrepreneur, a reversal of life. "The whole life of societies in which modern production conditions predominate is presented as an immense accumulation of spectacle" is part of the incipit of The Capital. Today the show is itself a means of production, in terms of consensus building. Today it is worth more than the years in which the famous definition of Guy Debord was written: the show is not a collection of images, but a social relationship between individuals mediated by images. The industry that spreads it, owned and dominated by those who hold financial, technological and informational power, strongly pushes the society of "rights", of which abortion is a symbol. It is an integral part of the oligarchy that has been given power over life and death. We should take note, once and for all, that the final struggle is between the civilization of life and the leaden culture of death, disguised as freedom, rights and progress.

We have read some comments on the Netflix initiative that appeared on social networks. One applauded the leaders of the media giant frantically in the name of freedom and women. It would not be worthwhile to comment on the cultural inconsistency of keyboard guerrillas if it were not the sack of a center-right manager. Wherever you turn, in what hands we fell. The entertainment system is not in the hands of the Bolsheviks. If the leaders arrive to expose themselves in first person, after having delivered the whole ideological chain of the show to the so-called progressivism, it is because they know that the political awareness of the public has been weakened, defeated by the accumulation of news, images, induced desires, grave of critical thinking. The blackmail of power is now so extensive that it is almost no longer perceived. The only distinction is between the opposing supporters of a pointillist humanity committed to the eternal present.

Edward Bernays, first propaganda theorist, Lippman and marketing, has won. The lesson of Vance Packard on the occult persuaders, who are no longer such, have lost. They reveal their face without problems, like the CEO of Netflix standard-bearer of free abortion, of the subjective right and blackmailer of the State of Georgia. The operation is so evident and well orchestrated that the heavy tolling from the fashion world responds to the Netflix bell. The two universes of the superfluous, of the dream that descends on the masses, walk divided to strike together. Gucci, the ex-Florentine luxury maison, now owned by the French giant Kering, opens the season with rainbow-oriented fashion shows and presentation of dresses in which abortionist and old feminist slogans stand out like "my body, my choice", the body is my own and I manage it and, in Italy, dresses with the writing 22.05.1978, date of the introduction of legal abortion.

Choices applauded at the scene opened by the cult magazines of ephemeral post-bourgeois progressism, Vanity Fair and Vogue, whose headlines in English give testimony of empty cosmopolitanism and absolute remoteness from the people, which are proposed, or imposed, negative values ​​such as vanity and fashion, antechambers of the desire for consumption. There is probably more: the system has understood that it could not completely win its battle of indoctrination and reconstruction of the mass personality through the cultural system. It therefore sets the new anthropology of the costume with an action, so to speak, lateral, on the side of fashion and of the television and cinematographic contents that it controls in a monopoly regime. If that is not enough, the word passes to the big bosses: reference shareholders, great managers. The press and television information are firmly in the hands of four or five agencies, the largest advertising investors are a few hundred multinationals; freedom ends and democracy becomes an empty container.

The attack on Internet, from which contents, principles, words and even surnames unwelcome to the mainstream are expunged, is underway with catastrophic results. But it does not come from yesterday's Marxism, but from "the beautiful people". It is frightening, as in the case of the debate, or rather of the non-debate, on abortion, the absolute prohibition of conveying a thesis that is not in line with their the lords and the the post-Sixty-eight wastes, as well as the absolute prohibition of questioning the "rights". The done is over, no second thoughts are allowed in the paradise of progress.

Great is the responsibility of those who have not understood, fought and exposed the lucid follies of the politically correct language. We draw from the interesting essay by Eugenio Capozzi the following reflection on the media hegemony of the Communist Party "It is necessary to look at its economic root. The politically correct expresses the class interests of the knowledge bourgeoisie, the bourgeoisie that affirms itself with the baby-boomers. It is no longer a bourgeoisie linked to the Fordist industry or to land ownership. Just think of the hi-tech industry and people like Steve Jobs or Bill Gates and Zuckerberg, who could be considered a nephew of baby boomers and counterculture. This bourgeoisie fits into the leading roles of international organizations and into the globalized system of media and social media. Hence the monopoly on the world of culture, communication and university. To this bourgeoisie, of course, most of the Western political classes also belong, especially in the last thirty years."

Dismantled without compliments the welfare state, the lower classes abandoned to their fate, in particular workers, farmers, employees, small traders and artisans, they work to a culture of death that has overcome every civilization of the past in a chilling cynicism, moral violence and nihilistic materialism. They have co-opted without difficulty the preponderant part of the Marxists of yesterday, see the praise of the faceless multitude, desiring and released from the class conflict of influential thinkers like Negri and Hardt, the brazen enlistment of long-standing philosophes like Bernard Henri Lévy, the absolute obliteration of the interests of the proletarianized middle class. It was even easier to keep the moderates of the center and the right on their side, conquered by consumerism and reassured by the abandonment of the tones, languages ​​and objectives of the left yesterday.

The result is the victory by other means of the heaviest materialism combined with a mass nihilism that we do not hesitate to call culture of death. Not only on the side of abortion, trivialized and equated with the removal of a cyst, nor with respect to the triumph of a confused, compulsive, unisex sexuality, but in the anthropological transformation of Western humanity. We think of the meaning of death: on the one hand, it is removed as a maximum taboo, on the other it is presented as the only solution to the ills of life, old age, illness, social unease, distance from the production cycle. Euthanasia is another milestone in the mortuary society. It solves the subjective problem of some unfortunates in a single blow, the annoyance of many families, equalizes the accounts of the welfare state, of private pensions and insurance, which in fact have largely financed the campaigns necessary to guide public opinion. In some countries of the "advanced" Europe, doctors are transformed into serial executioners in the twilight of life, just as others boast of having practiced tens of thousands of IVGs [Voluntary Interruption of Pregnancys - Italian acronym] (abortions remain, but the acronym is sweeter, euphemistic and bureaucratic).

The United States, home to all the liberal, libertarian and liberalistic, democratic, politically correct, mercantile and hypermaterialist triumphant postmodernist paraphernalia, are shattering another wall, that of ancestral respect for the deceased body. We have known for some time of the recycling (we do not know any other term) of parts of aborted fetuses, for some industrial processes, we know the habit of annihilating - hygienically, ecologically - the mortal remains of Homo sapiens, we had not yet arrived at a legislation that authorizes us to use human remains as fertilizer, composting material, after removal of the organs in good conditions. Like the grandparents' pig, nothing of the old Adam is thrown away. The superb innovation, the result of technological progress and ethical regression, comes from the State of Washington. No doubt that the fashion - as always passed off with the highest contents of the small morality a là Greta Thunberg- will soon cross the ocean seducing Europe, the land of sunset. Statistics already informs that many young people refuse to bring children into the world in order not to increase chaos and pollution. The propagandists are at work every day, the media system, the Hollywood stars, their employers, Netflix in the lead, with the most "cultured, reflective and advanced" part of the political class in tow.

The silence of what remains of the European culture and religious institutions upsets. They danced on the Titanic, discussed the sex of the angels in Byzantium, they guzzle in Rome. Nothing new under the sun, since the time of Ecclesiastes. Between Sodom and Gomorrah, money superstar, serial abortion, polyamory, programmed sterility and sweet death, the end is one step away. After the dissolution of Heliogabalus, it fell to Romolo Augustolo, little more than a child, to ingloriously close the history of Rome. We will only have hope in the barbarians at the door; we will leave in silence, the old ones as dust to fertilize the fields, the unborn as components of consumer chemical concoctions. Three thousand years of civilization locked up in an IT cloud, the cloud of the virtual universe.

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Original column by Roberto Pecchioli:

https://www.maurizioblondet.it/il-ricatto-abortista-di-netflix/

English translation by Costantino Ceoldo - Pravda freelance

By Malcolm Potts - Potts, M. et al. "Thousand-year-old depictions of massage abortion," Journal of Family Planning and Reproductive Health Care, volume 33, page 234 (2007)"., CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=6300604