This topic contains 5 replies, has 3 voices, and was last updated by 
lntoIerant 9 months, 3 weeks ago.
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I never really watched the show as a kid. Thought it was kinda’ gay. And a watered down rip off of “Married with Children.” But due to all the hubbub I torrented the first episode of the reboot. (Season 10, Episode 1). Pretty good stuff. Definitely not conservative, but compared to usual Hollywood insanity, it was a breath of fresh air. One grandkid is gay or nonbinary or whatever the fuck, and the other grandkid is a little black girl. Needless to say, not far right.
It’s more of a “South Park” equal opportunity social commentary. Overall, pretty entertaining and funny at parts. Looking forward to how this turns out. But this is exactly what Ben Shapiro talks about in his book, “Primetime Propaganda.” He explains how they just keep pushing the Overton Window further and further left and through characters you love. Here’s an excerpt:
Then one day, as I was watching Friends, it struck me: Dad was right. It was “The One with the Birth.” Ross’s lesbian ex-wife, Carol, is having his baby. And Ross is understandably perturbed that Carol and her lesbian lover will be bringing up his child. While Ross is going quietly cuckoo, Phoebe approaches him. “When I was growing up,” she tells him, “you know my dad left, and my mother died, and my stepfather went to jail, so I barely had enough pieces of parents to make one whole one. And here’s this little baby who has like three whole parents who care about it so much that they’re fighting over who gets to love it the most. And it’s not even born yet. It’s just, it’s just the luckiest baby in the whole world.”
Pregnant lesbians and three-parent households portrayed as not only normal, but admirable. This wasn’t exactly Dick Van Dyke.
And it wasn’t one random episode of Friends. The propagation of liberal values was endemic to the industry. While Ross was busy walking his lesbian ex-wife down the aisle for her wedding to her new lover, Samantha was chatting graphically about oral sex with Charlotte on Sex and the City; Shavonda and Sarah were going topless and French kissing each other on The Real World: Philadelphia; a gay man and a single woman were considering whether to have a baby together on Will & Grace; Kate was deciding in favor of abortion on Everwood; and the city of Springfield was legalizing gay marriage on The Simpsons.
It hit me that I was watching the culture being changed before my eyes. These weren’t just television episodes—they were pieces of small-scale, insidiously brilliant leftist propaganda. -
Ugh…. the second episode is all about accepting their faggy grandson. I did this as a kid, tbh. I even wore a dress to school. It was just shock value and being weird. Trying to be funny. Push boundaries. That’s natural. But I was well liked and grew up in a post Columbine era where you get bonus points for being a weirdo. This episode concedes to the belief system held by libshits who project their own victim narrative values onto children. The faggy grandson says “It’s really important to me.” What!? The point the aunt makes about how some gender roles are arbitrary is true, but pick one. You really think any kid his age thinks it’s like a civil rights issue? Think that is something universal and not just unique to the dying empire of America? Nothing makes my blood boil more than “””progressive””” parents fucking up their children for years to come under the mask of tolerance. And even though Roseanne and her husband are combative on crossdressing, they ultimately show positive character development when they decide to accept their faggy kid just the way he is. (I can’t be picky in 2018, I know, but this is really sad that this is considered conservative.)
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My theory is that sick fuck faggot men want little boys to dress up sexually as girls. It’s weird when grown men enjoy little girl beauty pageants…but when a faggots cheer on an 11 yr old boy at a drag show, it’s empowerment.
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Relatable Ben Shapiro excerpt from “Primetime Propaganda:”
“Maude’s most famous moment, though, was the title character’s abortion. In 1972, just before Roe v. Wade was decided by the Supreme Court, Maude, then forty-seven years old, decided to abort her fetus. The episode was a two-parter. At the end, Maude has a crucial exchange with her husband, Walter.
“Just tell me, Walter, that I’m doing the right thing not having the baby,” she says.
“For you, Maude. For me. In the privacy of our own lives. You’re doing the right thing,” he replies.
Harris was just getting started. Her first successful series creation was Soap, quite possibly the most controversial series in television history. It started from Harris’s desire to write a serialized comedy rather than the self-contained half-hours television had always embraced.“It really wasn’t a satire on soap operas,” she continued. “It was called Soap because it was a good title and had the form of a soap opera, which was, you know, hooks and cliffhangers and not knowing where the story was going to go.”
While the series did satirize soap operas in a soft way, it was far more about character and politics. In keeping with the prevailing liberal sensibilities of the time, it focused on upper-crust liberals rather than downtrodden ones; since the Nixon Administration, liberals had shunned the non-minority lower classes.The series’ first true political breakthrough came in the form of Jodie Dallas (Billy Crystal), an openly gay man who makes a plea for tolerance of his sexual orientation in the third episode of the first season (after he shows up wearing a dress in the second episode). He confronts his stepfather, Burt: “You hate me because I’m gay, right?” Burt assents. To which Jodie responds: “Look at me, I’m a person . . . Burt, just think of me as a person, that’s all. That’s all I am, I’m a person sitting here. Burt, look at me, I’m a person . . . who happens to like men!” Burt balks, then finally accepts Jodie for who he is.
Crystal started the trend of “playing gay,” which has become a must-do for so many television and film actors as a mark of artistic credibility. But it wasn’t easy. “I was Jackie Robinson for a while,” he told the New York Times. “It was very creepy at the beginning.” But Crystal’s presence on the show did exactly what its creators thought it would do: it warmed the audience up to the gay agenda. Near the end of the show, Jodie became embroiled in a battle over the custody of his love child. “The mail was three to one that I should get the child,” Crystal said, “and I thought that was the biggest victory of all.”
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Episode 4 is the best so far. Gavin McInnes would love this episode.
No spoilers but these videos relate perfectly:
Oh look! Just checked and sure ’nuff he’s a fan. Wonder if he has seen this episode yet…
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SO glad Roseanne is getting out of this world ratings, SO glad they are actually deigning to show a different point of view other than extreme left, and I have really enjoyed the clips when Roseanne DOES show a right wing intelligent opinion- like when she tells her daughter- I know you are for government healthcare because you are a person with a big heart—–but no math skills!
but I never liked the original show and when I turned it on the other night it was the same show I remembered- a show about low class people living in a low class house doing low class things- so I probably won’t be adding to the big numbers tuning in.
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I haven’t read the manga, though. Only just now googled for cool images. Is it worth it? I’m on episode 9 of season 1 in the anime. Seems like it’s ripping off “Attack On Titan” a bit, especially with the soundtrack and genocidal rage (based on fucked childhood) of the protagonist. But most anime/manga is derivative, I’m just glad it’s …
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“We must secure the existence of our people and a future for cute babies and kitties.” 16/88 ฅ/ᐠ｡ᆽ｡ᐟ \ …
