Participating In Political Theater Has Gutted The Theatre
Several theatre companies lost NEA grants this year.
Earlier this month, President Trump pulled the plug on funding for many artistic groups by putting the kibosh on National Endowment for the Arts grants without warning. In NYC, 326 companies suddenly lost a total of $8.5 million. While the majority-anti-Trump arts crowd screamed “fascist!” as quickly as they could, might they be getting a taste of their own medicine?
Before we dive in, I need to be clear about the fact that the arts are important everywhere. They are an essential part of free speech. Art can make provocative statements, ask the bigger questions and simply connect people on a level other activities cannot. When the arts are not thriving, the next thing that happens is the policing of speech.
A man who was literally welcomed with love on the long-running talk show The View somehow turned into a supervillian during his presidential campaign. People didn’t lose their minds until they were told to do so. Just like millions of people across the world, the vast majority of the New York City arts scene fell victim to Trump Derangement Syndrome mainly brought on by media and driven by algorithms.
Make no mistake, Trump is not a good guy. He’s gutting a lot of programs that working class people depend on while cozying up to sociopathic technocrats and cutting taxes for the rich. Oh yeah, he’s also staying the course with medical experimentation on the public via mRNA injections.
Obviously, art that comments on and challenges this behavior is important, but when your fixation on a single man turns you unhinged there is a problem that needs to be addressed. The good little theatre kids that have learned to obey and kiss the ground of authoritative figures (in ways I will mention later) decided to do a hypocritical 180-degree turn specifically for the Don. Suddenly, the respect they had for the highest office (which, as artists, they never should have had to begin with) devolved into death wishes.
Politically, the industry’s body of work is so embarrassingly inconsistent that it exposes the so-called community’s susceptibility to propaganda and programming. Mix that glaring flaw with a dose of self-righteousness and you have a plethora of self-masturbatory disaster projects with absolutely nothing to say.
After the industry’s cringey witch hunt of Laura Osnes for declining the COVID injectable product, one would think that the Biden administration would have been a timely opportunity for an awakening and rebalancing. Nope. Even with an easy target, partisanship stole the show from the showmakers. Over the course of Biden’s career, he has been known to be a flat-out liar, a plagiarist, a racist, a sexist, a sex offender, a war hawk and he even spilled the beans about the anthrax operation on the day of 9/11. Yikes!
What did the theatre scene have to say about all that? Nothing. Even Biden’s Magooisms were essentially protected from criticism. It honestly should come to no surprise, though, considering war criminal Hillary Clinton produced a Broadway show. At one performance, she received an ovation for making an appearance and upstaging her own production.
Ah, yes. A successful woman. One with power. A political celebrity that the machine tells them to worship. And they do…without question. An egregious lack of awareness is captured in this photo.
Is it any wonder that Trump used this opportunity to pull the rug out from beneath a bunch of people that are stuck in their own ignorant bubble? Their fanaticism has suddenly become their downfall and Trump’s base will convince themselves this power play is justified because they are just as obsessed with him. Once again, the masses are pitted against each other while people in power find new ways to steal rights.
The theatre remains strong at exploring emotional struggles, but their examination of power rings hollow. Will there be a shift? Will they learn their lesson? Or will the industry continue to preach the same message to its audience of political zombies? What financier is going to take a risk on waking audiences up by taking aim directly at their worldview?
It would take a visionary.
Regarding “the arts”, it’s mostly pre-programming and mind control used to influence culture by the Intel agencies (there’s 17, not just one) as part of cultural mass mind control, National identity and policies of the government, which is a private for profit corporation.
If you can find a current play or musical, movie or artist that’s offering any type of criticism of what we are really facing in terms of climate fraud, virus fraud, contagion fraud, political fraud, legal fraud, scientific fraud, educautional fraud, historical fraud or religious fraud I’d be interested to see that.
Because historically and recently art isn’t organic at all it’s a business model, highly managed and influenced with masonic agents and artists developing and promoting behavioral and cultural, political programming in all areas of the arts, including music and the visual arts.
It’s likely that “Trump” (his handlers, and the real owners of America Inc) have pushed for the reduction of funding in that area, because this panders to the Trump voting base, ie part of a sector of the populace that believes voting is real, and it allows for the introduction of the ugly, vile and stultifying AI based “art”.
The script is writ, actors cast, and the production on the cave wall (Our screens) is directed from the wings by the moneyed psychopaths in control on Our planet. They groom groups of Us to hate other groups, creating Their divides to keep Us conquered.
That theatres are loosing money over the Trump character's choices is part of the efforts to cast sandy hooks into Our emotions and drag Us where They want Us.
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