The scandalous propaganda of ‘Scandal’

The pro-abortion lobby got millions of dollars’ worth of free publicity last Thursday, when the winter finale of the hit television show “Scandal” aired.

It was actually a one-two punch for the pro-abortionists. The first plotline concerned a filibuster by a female senator to prevent legislation that would have ended mandatory funding for Planned Parenthood.

Mind you, the bill in question wouldn’t have stripped one penny from the nation’s leading provider of abortions. No, all it would have done is move the hundreds of millions of dollars in taxpayer funds Planned Parenthood receives each year into the discretionary category.

In other words, it would require new congressional approval each year — just like our military. While that may seem eminently sensible to you and me, the possibility that the abortion provider could lose even a dollar in federal funding was treated in the show as one of the greatest threats possible to women’s health.

We were all supposed to breathe a gigantic sigh of relief when the dastardly threat was avoided.

But the machinations on the Senate floor were just part of the pro-abortion propaganda that Shonda Rhymes, the show’s creator and major writer (and also, not so incidentally, a member of the board of directors of Planned Parenthood Los Angeles), had in store for us last Thursday night.

No, an even more distressing scene took place a few blocks away in Washington, in a medical clinic where Olivia Pope, the show’s heroine, was shown getting an abortion.

The show made clear that Olivia had not told anyone she was pregnant or that she was getting an abortion. Not her staff. And not her lover, who just happens to be the president of the United States. No, she was all alone on a hospital bed as the doctor picked up a scraping tool and moved between her knees.

As this is happening, the background music is the beloved Christmas hymn “Silent Night.” While the music celebrates the coming of a “holy infant, so tender and mild,” Olivia grips the rail of her hospital bed and stares resolutely, as she gets rid of the child within her.

But even worse than that imagery is the voice-over we hear by Olivia’s father, who just happens to be a mass murderer. (So, by the way, is her mother, who is an international terrorist. There is no plot point too extreme or bizarre for this show, folks.)

While Olivia’s abortion proceeds, we hear her father declare:

Family is a burden … a pressure point, soft tissue, an illness, an antidote to greatness. You think you’re better off with people who rely on you, depend on you, but you’re wrong, because you will inevitably end up needing them, which makes you weak, pliable. Family doesn’t complete you. It destroys you.

Given the utter nihilism of that philosophy, of course it makes sense to have an abortion.

The pro-abortion brigade couldn’t contain their glee over the show. Christina Cauterucci said on Slate, “[O]ne of TV’s most beloved characters gave us an honest look at a positive experience with abortion.” The Huffington Post’s Jessica Samakow wrote: “[M]illions of viewers watched a beloved character exercise her right to choose as just one of the things she did that day.”

And Planned Parenthood issued a statement praising the show: “[W]e saw one of our favorite characters [guess they missed the talking point about “beloved character”] make the deeply personal decision that one in three women have [sic] made in their lifetime. We applaud Shonda Rhimes … for proving that when women are telling our stories, the world will pause and watch.”

What a message on which to end the season: Family will destroy you, and abortion is the obvious and sensible solution to this terrible threat.

What a scandal.

Until next time, keep some powder dry.

–Chip Wood  

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Chip Wood