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The Problem with Actors and Actresses
Like many people, I was cynically amused to learn that the Duke and Duchess of Cambridge were “leaving” the Royal Family. According to an agreement they reached with the Palace on January 18th, they would be free to pursue business opportunities around the world and would “no longer be working members” of the British royal family, though they would lose the right to be referred to as His or Her Majesty.
It’s hardly surprising. Acting, like many art forms, has always attracted the insecure, sociopathic, and the just plain crazy. And Meghan Markle is an actress. One psychological study found that actors showed significantly higher rates of disordered personality traits than non-actors. The study, which compared 214 professional actors to a cohort of North American non-actors, also found that there was a high prevalence of anti-social personality, borderline, narcissistic, schizotypal, and obsessive-compulsive traits among actors than there was among the general population.
People become actors because they like being the centre of attention. They crave the spotlight because it makes them feel validated. The Royal Family, by contrast, performs public service by diverting attention away from themselves and onto the British nation and people. (A fact greatly contradicted by a news media who treat them as news stories in and of themselves). Poor Meghan Markle has found herself in a situation where she is not the centre of attention, and she doesn’t like it.
So, what does someone like Meghan Markle do when the spotlight is not on her? Well, the answer in Meghan’s case seems to be: leave the royal family. I will not at all be surprised in Meghan announces some kind of return to acting over the coming year. You cannot turn an actress into a princess anymore than you can make a leopard change its spots.
The Presumption of Innocence is Worth Protecting No Matter What the Cost

Jemma Beale was sentenced to ten years imprisonment after it was found she had made repeated false rape allegations.
In February 2013, Vassar College student, Xialou “Peter” Yu was accused of sexual assault by fellow student, Mary Claire Walker. The accusation stemmed from an incident occurring twelve months previously in which Walker had accompanied Yu back to his dorm room after a party and initiated consensual sex. Walker herself broke off the coitus early. She had decided that it was too soon after ending her relationship with her boyfriend to embark on a sexual relationship with another man. She even expressed remorse for having “lead Yu on” and insisted that he had done nothing wrong.
Nevertheless, at some point, Walker decided that she had been sexually assaulted and Yu was mandated to stand before a college tribunal. At this tribunal, Yu was refused legal representation, had his attempts at cross-examining his accuser repeatedly stymied, and potential eyewitness testimonies from both Yu and Walker’s roommates were suppressed by the campus gender equality compliance officer. Supposedly because they had “nothing useful to offer.” In what can only be described as a gross miscarriage of justice, Yu was found guilty and summarily expelled.
Unfortunately, the kind of show trials that condemned Yu is not entirely uncommon in American colleges and universities (and, like many social diseases, are starting to infect Australian campuses, as well). They are the result of years of unchallenged feminist influence on upper education. These institutions have swallowed, hook, line, and sinker, the feminist lie that every single woman who claims to be sexually assaulted must be telling the truth.
The problem begins with those who make public policy. The US Department of Education has been seduced by the ludicrous idea that modern, western societies are a “rape culture.” They have brought into the lie that one-in-five women are sexually assaulted on college campuses, despite the fact that this statistic (which conveniently seems to come up with exactly the same ratio no matter where it’s used) comes from an easily disproven web-based survey.
This survey, which was conducted at two universities in 2006, took only fifteen minutes to complete and had a response rate of just 5466 undergraduate women aged between eighteen and twenty-five. Furthermore, it was poorly formulated with researchers asking women about their experiences and then deciding how many of them had been victims of sexual misconduct.
Regardless, the lack of credibility that this survey possessed did not stop the US Department of Education’s Office of Civil Rights from laying out guidelines for handling reports of sexual misconduct. Among these recommendations was that reports of sexual misconduct should be evaluated on the “preponderance of evidence” rather than the more traditional “clear and convincing evidence.” This radical shift in standards of proof means that accuser only has to prove that there is a reasonable chance that a sexual assault occurred rather than having to prove it beyond a reasonable doubt.
It would be an understatement to say the college and university rape tribunals – and the policies that inform them – violate every legal principle and tradition of western law. American colleges and universities have created an environment in which male students can be stigmatised as sexual deviants with little to no evidence aside from an accusation. These tribunals not only violate standards of proof but the presumption of innocence, as well.
That these tribunals have decided to do away with the presumption of innocence should hardly come as a surprise. After all, the mere idea of the presumption of innocence is antithetical to human nature. It is natural for human-beings to presume that someone is guilty just because they have been accused of something. As the Roman jurist, Ulpian pointed out: the presumption of innocence flies in the face of that seductive belief that a person’s actions always result in fair and fit consequences. People like to believe that someone who has been accused of a crime must have done something to deserve it.
The presumption of innocence is the greatest legal protection the individual has against the state. It means that the state cannot convict anyone unless they can prove their guilt beyond any reasonable doubt. We should be willing to pay any price to preserve it. And we certainly shouldn’t allow extra-legal tribunals to do away with it just to satisfy their ideological proclivities.
A Man For All Seasons
It is a rare occurrence to see a film that is so memorable that it implants itself on the human psyche. A film that contains such a captivating story, compelling characters, and profound themes occurs so rarely it becomes etched into our collective unconscious. A Man for All Seasons is one of those films.
Set in Tudor England during the reign of King Henry VIII (1491 – 1547), A Man for All Seasons tells the story of Henry’s divorce from Catherine of Aragon (1485 – 1536), the birth of the Church of England, and the man who stood opposed to it.
During the 1530s, King Henry VIII broke away from the Catholic Church, passed the Act of Succession (which declared Princess Mary (1516 – 1558), the King’s daughter with Catherine, illegitimate) and the Act of Supremacy (which gave Henry supreme command over the Church in England), and made himself the Supreme Head of the Church of England.
In A Man for All Seasons, Henry asks Sir Thomas More (1478 – 1535) to disregard his own principles and express his approval of the King’s desire to divorce his wife and establish an English Church separate from Rome. Henry believes that More’s support will legitimise his actions because More is a man known for his moral integrity. Initially, Henry uses friendship and dodgy logic to convince his friend. It fails, and the so-called “defender of the faith” tries using religious arguments to justify his adultery. When this fails, he merely resorts to threats. Again, More refuses to endorse Henry’s actions.
A Man for All Seasons is really about the relationship between the law (representing the majesty of the state) and individual consciousness. In the film, Sir Thomas More is depicted as a man with an almost religious reverence for the law because he sees it as the only barrier between an ordered society and anarchy. In one scene, when William Roper the Younger (1496 – 1578) tells him he would gladly lay waste to every law in order to get at the devil, More replies that he would “give the devil benefit of law for my own safety’s sake.”
More’s reverence goes far beyond mere man-made law, however. He also shows a deep reverence for the laws of God, as well. After being sentenced to death, More finally breaks his silence and refers to the Act of Succession, which required people to recognise Henry’s supremacy in the Church and his divorce from Catherine of Aragon, as “directly repugnant to the law of God and His Holy Church, the Supreme Government of which no temporal person may be any law presume to take upon him.” More argues that the authority to enforce the law of God was granted to Saint Peter by Christ himself and remained the prerogative of the Bishop of Rome.
Furthermore, More argues that the Catholic Church had been guaranteed immunity from interference in both the King’s coronation oath and in Magna Carta. In his coronation oath, Henry had promised to “preserve to God and Holy Church, and to the people and clergy, entire peace and concord before God.” Similarly, the Magna Carta stated that the English people had “granted to God, and by this present charter confirmed for us and our heirs in perpetuity, that the English Church shall be free, and shall have its rights undiminished, and its liberties unimpaired.”
The central problem of the film is that the legal and political system in England is incapable of allowing More to hold a contradictory, private opinion. Even before he is appointed Chancellor, More expresses no desire to get involved with the debate surrounding the King’s marriage. He will not, however, swear an oath accepting the King’s marriage or his position as the head of the Church of England. More believes that it is the Pope who is the head of the Church, not the King, and he is perfectly willing to sacrifice his wealth, family, position, freedom, and, ultimately, his life to retain his integrity.
The relationship between the law and an individual’s conscience is an important one. What A Man for All Seasons illustrates is just how important this relationship is, and what happens when this relationship is violated. Modern proponents of social justice, identity politics, and political correctness would do well to watch A Man for All Seasons.
OUR OBSESSION OVER FOOD IS RIDICULOUS
Sometimes a civilisation can become so sophisticated that it believes it can overcome truth. We have become one of those civilisations. As a consequence of our arrogance, we have come to believe that we can circumvent some of the most fundamental truths about reality. We blame inequality on the social structure even though most social animals live in hierarchies. We believe that primitive people are noble even though mankind in its primitive state is more violent than at any other stage. And we believe that we can change the way human beings eat despite the fact that it is making us unhappy.
It is our modern obsession over diet and exercise that I would like to focus on. This obsession has arisen from a society that is too safe, too free, and too prosperous for its own good. This is not to say that safety, freedom, and prosperity are bad things. Indeed, we should get down on our knees and thank God every day that we live in a country that has these things. However, it is also true that too much safety, freedom, and prosperity breeds passivity and complacency. The hardships our ancestors faced – war, poverty, disease – are no longer problems for us. Therefore, we lack the meaning that these hardships bring to our life. As a result, we have come to invent problems. Among these has been a tendency to render the consumption of certain food as something unhealthy, unethical, or both.
Our modern obsession with food is causing significant personal problems. On the one hand, the ease in which food, especially that which is laden with sugar, is causing a rise in cases of obesity. (Note: I am using the word ‘obesity’ as a blanket term for people who are overweight). It is a uniquely modern problem. Our ancestors never battled weight gain because they were only able to find or afford enough food to keep them and their families from starving. Now the quantity, cheapness, and, in many cases, poor quality of food means that the fattest amongst are also often the poorest. But obesity is less a problem that arises out of food and more of a problem arising from laziness and gluttony. (Naturally, I am excluding health problems and genetic disorders from this conclusion).
On the other hand, however, our obsession over being skinny or muscle-bound is also causing problems. I have seen plenty of people who are clearly overweight. In rare cases, I have even seen people who are so morbidly obese that it can only be described as breathtaking. However, I have also seen women (and it primarily women, by the way) who can only be described as unnaturally thin. It is as though our society, having realised that being overweight is healthy, has decided that its opposite must be good. It isn’t. Just right is just right.
And it’s not just individuals who are subjecting themselves to this kind of self-imposed torture. And it’s not limited to people in the here and now, either. In 1998, The Independent reported that many doctors in the United Kingdom were concerned that well-meaning parents were unintentionally starving their children to death by feeding them low fat, low sugar diets. These children were said to be suffering from the effects of “muesli-belt nutrition.” They had become malnourished because either they or their parents had maintained had become obsessed with maintaining a low-fat, low-sugar, low-salt diet. The article reported: “Malnutrition, once associated with slums, is said to have become an increasing problem for middle-class families in the past fifteen years. The victim of so-called ‘muesli-belt nutrition’ are at risk of stunted growth, anaemia, learning difficulties, heart disease and diabetes.”
Our obsession over diet is really a sign of how well-off our society is. Our ancestors had neither the time nor the resources to adhere to the kind of crazy-strict diets that modern people, in their infinite stupidity, decide to subject themselves to. It is high time we stopped obsessing over food and got a grip.
The Death of Comedy
In March of this year, the vlogger Mark Meechan was convicted in a Scottish Court of violating the Communications Act 2003 for a video he had uploaded to YouTube in April 2016. The video, which Meechan claimed had been produced for comedic purpose (he claimed he wanted to annoy his girlfriend), featured a pug dog making Hitler salutes with its paw, responding to the command “gas the Jews” by tilting its head, and watching a Nazi rally at the 1936 Berlin Olympics.
The Scottish Court that convicted Meechan (who is much better known as ‘Count Dankula’) concluded that he had been motivated to produce the video by religious prejudice. Perhaps without realising it, by convicting Meechan, the Scottish legal system has illustrated the importance of free speech and the threat that political correctness poses to it.
Unfortunately, legally and politically incited attacks against both free speech and comedy are not limited to the United Kingdom. In Canada, politically correct inspired attempts to silence comedians have been instantiated into law. In one alarming case, the Quebec Human Rights Commission awarded Jeremy Gabriel, a disabled former child star, $35,000 in damages after he was ridiculed in a comedy routine by Mike Ward.
It is little wonder, then, that some comedians have seen cause for alarm. Some, like Chris Rock, now refuse to perform on college campuses because of the oversensitivity of some of the students. Others, like legendary Monty Python star John Cleese, have warned that comedians face an “Orwellian nightmare.”
Political correctness is the antithesis of comedy. It is not that comedians have been prevented from practising their craft, but that the pressures political correctness place on them makes it difficult to do so. The comedian feels himself pressured to self-censor himself because of the way words are categorised by their supposed offensive or inoffensiveness. And he finds himself fearful of having his words twisted and misinterpreted to mean something other than what he meant it to mean.
Much of the problem arises from a culture that has elevated politics to something approximating religion. And, like all zealots, the fanatics of this new religion have attempted to conform every aspect of society to their new faith. It is the job of the comedian to make me laugh. It is not his job, as some would have you believe, to play the role of political activist.
Unfortunately, that view is not one held by many on the radical left. In an article for the Sydney Morning Herald, Judith Lucy opined that people wanted to “hear people talk about politics or race.” And it seems that there are people who agree with Lucy. Comedy is not to be used to bring joy to people, but as a platform to espouse politics. Comedy has become a form of propaganda. And it is the liberal agenda that determines what is considered funny and what isn’t.
What the politically correct offer instead of genuinely funny comedy is comedy as a form of political activism. Comedy is to be used to spread progressive ideas and political correctness is to be used to silence that which opposes those ideas. Take, for example, Tim Allen’s sitcom Last Man Standing, which revolved around a conservative protagonist, which was cancelled by the American Broadcasting Company despite its popularity.
And nowhere can this trend of comedy as political activism can be seen more readily than in the current incarnations of late-night television. Legendary comics like Johnny Carson and David Letterman established late-night television as a form of entertainment that provided light-hearted entertainment before sending its audience off to bed. It was not afraid of offending people in order to do so, either. Today, however, this willingness to offend others seems only to be targeted towards those on the right of the political spectrum. It is as though the late-night comedian has decided to use his position to preach progressive politics to its audience rather than using their talent to make insightful and hilarious observations about the world around us. The result is that late-night host places commenting on political or social matters above entertaining his audience.
It is as though the late-night host has replaced humour for indignation. The “jokes” (in reality they are tirades) contain more than a modicum of vitriol and resentment. Samantha Bee referred to Ivanka Trump as a “feckless cunt”, Stephen Colbert accused President Trump of being Vladimir Putin’s “cock holster”, so on and so forth.
While it may seem alarming, it is precisely what happens when comedians see themselves as activists rather than entertainers. As Danna Young, Associate Professor of Communication at the University of Delaware, commented:
“When comics abandon humour and go with anger instead, they come just another ‘outrage’ host. Now, if that’s cool with them, great. But if they are looking to capitalise on the special sauce of humour, then they’ll need to take their anger and use it to inform their craft, but not have it become their craft.”
Fortunately, there is a litany of comedians who refuse to conform their comedy to the morays of political correctness and progressive politics. Numerous comedians have denigrated political correctness as the “elevation of sensitivity over truth” (Bill Maher) and “America’s newest form of intolerance” (George Carlin). Jerry Seinfeld, a man whose comedy routines are considered among the least offensive in comedy, referred to political correctness as “creepy” on Late Night with Seth Meyers. Bill Burr accused social justice warriors of being bullies. Likewise, Ricky Gervais has tweeted “if you don’t believe in a person’s right to say things you find ‘grossly offensive’, you don’t believe in free speech.”
And all of this is not to say that political correctness has destroyed genuinely funny comedy, either. Netflix has spent a great deal of money producing comedy specials that are, in many cases, far for inoffensive. Ricky Gervais comedy special Humanity has featured jokes about rape, cancer, transgenderism, AIDS, and the Holocaust.
Comedy has been threatened by both progressive politics and political correctness. Mark Meechan may have found himself running afoul of the politically correct left, but as long as their people who stand committed to free speech and comedians prepared to make offensive jokes, the laughter will continue.
WHY TRUMP WON
Not even Cassandra, cursed to prophesise but never be believed, could have predicted the tumultuous change that occurred in 2016. In June, just over half of the British public (51.89%) voted to leave the European Union. Then, in November, Donald Trump defeated Hillary Clinton to become the President of the United States.
And not only did Trump defeat Clinton, winning thirty of America’s fifty states (though Clinton did win the popular vote), the Republican Party utterly decimated the Democrats. Trump won thirty of America’s fifty states (Clinton, admittedly, did win the popular vote). The Republicans have taken control of the House of Representatives, have a majority in the Senate, hold thirty-three state governorships, and control thirty-two state legislatures.
Brexit’s victory and Trump’s triumph comes off the back of a deeper cultural movement. It is a movement that rejects the doctrines of political correctness, identity politics, diversity, and equality in favour of greater intellectual rigour and personal freedom. Trump’s gift to this movement has been to expand the Overton Window. As an indirect consequence of his uncouthness, the boundaries of public discourse have been expanded exponentially.
Throughout his campaign, the media treated Trump as a joke. He hasn’t got a hope in Hades, they claimed. In the end, however, they were proven wrong. Trump won through a mixture of hard-line policies on immigration and a rejection of political correctness and far-left politics. And he won through his astounding ability to market himself to the American people.
The first thing to note is that Trump thrives on scandal. Much of this ability emanates from his already tarnished reputation as a rude, uncouth, bully and womaniser. Trump has never denied these facets of his personality (in some cases he has even emphasised them). What this means is that those who voted for Trump did so despite the significant faults in his character. Consequentially, accusations involving sex or money (the two things people truly care about) has little effect on him.
Then there is his skill as an emotional manipulator. Trump appeals directly to the emotional sensibilities of the people by using fear-mongering rhetoric to circumvent the mind’s critical faculties. Rather than emphasising the importance of maintaining the integrity of immigration law, Trump chooses to emphasise the crimes – rapes, murders, drug offences – committed by some illegal immigrants. After this, Trump promotes anger by setting up an out-group as the enemy. As a result, Trump implies not only that he is the best man to solve these issues, but that anyone who opposes him is somehow anti-American.
Finally, there is Trump’s use of simplicity and repetition as persuasive tools. Nuanced and boring statements can be taken out of context. By contrast, simple and heavily repetitive statements are harder to take out of context. But, more importantly, such statements are also more likely to be believed.
Much of Trump’s use of simplicity has its basis in his relationship with language. Trump speaks at a fourth-grade level and averages one syllable per word. While it would be easy to dismiss this as unsophisticated or low brow, it is important to remember that small words have a stronger and more immediate emotional impact, are more accessible to a wider audience, and are considered more believable. Cognitive fluency bias means that that the easier it is to understand something, the more likely it is to be believed. As a consequence, Trump’s use of small, simple words means he is more likely to be understood and, therefore, is more likely to be believed.
Perhaps the most important aspect of Trump’s magnetism is his ability to bypass the traditional mediums of communication and appeal directly to the American people. Unlike Hillary Clinton, who relied upon celebrity support and the mainstream media, Trump and his supporters used social media to appeal directly to voters. The lesson is clear: voters like for politicians to speak to them as equals, not preach to them from on high.