Celebrities Show Love for W.H.O., Disrespect for U.S.

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Despite having temporarily sacrificed some of our freedom during the coronavirus lockdown, many Americans seem to have gained a newfound appreciation for our country.

The Hollywood left, on the other hand, doesn’t appear to have had the same experience.

To a whole lot of everyday people, much has been revealed through the pandemic that shocked us to the core, and many a lesson has been learned. One of the most important lessons gleaned is how incredibly dangerous it is to be dependent on a communist regime with regard to our critical supply chain.

Too many of our celebrities, though, continue to display an utter lack of awareness or understanding about the geopolitical realities of our times. This was recently driven home when many of the rich and famous lent their names and talents to the unworthy cause of raising funds for the World Health Organization (W.H.O.).

A virtual concert took place this past weekend, which was promoted as a “One World” event. It was designed to benefit the W.H.O., a global entity that is deeply enmeshed in controversy.

The concert’s marquee included A-list celebrities such as Taylor Swift, John Legend, Paul McCartney, The Rolling Stones, Beyonce, Oprah Winfrey, Jennifer Lopez, Elton John, and Lady Gaga.

Late-night comedians Stephen Colbert, Jimmy Fallon, and Jimmy Kimmel served as hosts. Other famous individuals who made appearances included Ellen DeGeneres, former First Ladies Laura Bush and Michelle Obama, and Bill and Melinda Gates, the couple whose foundation is the W.H.O.’s second biggest donor.

As a virtual concert, the event had artists and participants appearing from their homes; this allowed for the event to be broadcast across multiple television channels in the U.S. and around the globe. Funds in excess of $128 million were raised, according to a press release from the organizers.

The timing of the concert was more than unfortunate for our nation. President Donald Trump had just canceled funding for the W.H.O., due to credible allegations of influence exerted upon the group by the communist regime in China.

The president took the appropriate action for our country when he held back funds for the W.H.O., pending an investigation of the group’s alleged malfeasance in dealing with China’s mishandling and potential cover-up of the coronavirus breakout in Wuhan.

The W.H.O. has had a spate of bad press. The head of the organization, Tedros Adhanom Ghebreyesus, is a former official of Ethiopia’s Marxist Tigray People’s Liberation Front. In January and well into February of 2020, Tedros lavished unmerited praise on the Chinese government for its handling of the virus’s breakout and supposed sharing of information. While the W.H.O. leader commended China, he simultaneously criticized other nations for their responses to the coronavirus emergency.

Tedros had encouraged the nations of world not to limit travel to and from China and also delayed letting the world know that the virus was a public health emergency.

At a recent White House press conference in which he pledged to withdraw W.H.O. funding, President Trump stated the following: “The W.H.O.’s attack on travel restrictions put political correctness above life-saving measures.”

Interestingly, the “One World” virtual concert was organized by the W.H.O. along with another entity, the non-profit advocacy group Global Citizen.

The staging of a musical event with a theme that ran counter to the Trump administration’s policies was apparently something that Global Citizen had been involved with on a prior occasion, as recently as September of last year.

President Trump had just shared with the United Nations General Assembly the notion that “the future does not belong to the globalists. The future belongs to the patriots.” A mere four days later an event called the “Global Citizen Festival” was held in New York’s Central Park.

Entertainers that were featured included Queen (with Adam Lambert), Pharrell Williams, Alicia Keys, OneRepublic, Carole King, and Hugh Jackman, a celebrity lineup with comparable star power to the one that the W.H.O. featured at its fundraising concert. Tickets to the event were offered for free to “global citizens” who were willing to “take a series of actions to create lasting change around the world.”

Similar to the recent W.H.O. “One World” concert, the event brought together entertainment figures to appear with activists in order to promote a host of radical pseudo-utopian causes.

Our nation and the priceless freedoms it affords are what enable individuals to reach for the sky and, when hard work and destiny lock hands, achieve their dreams.

Perhaps as tragic as a virus that infects the body is a hatred that hardens the heart. There is no virtue in supporting the W.H.O., an organization that may have assisted China and betrayed the U.S. and possibly the whole world.

Oprah’s New Age “Wrinkle”

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Hollywood recently managed to take a classic fantasy novel and strip away its soul.

Author Madeleine L’Engle’s “A Wrinkle in Time,” a book published in 1962, is clearly written from a Christian perspective and eloquently communicates the author’s biblical worldview.

Ava DuVernay is the director of a current film adaptation of L’Engle’s work. Unfortunately, it is likely that the author would scarcely recognize her own story as a result of Hollywood’s reverse Midas touch that materializes in the form of New Age mysticism.

The screen version of the literary tale is simply a heavy-handed piece of contemporary cinematic propaganda with an apparent purpose of spreading a superficial New Age theology and one-dimensional feminist ideology.

Winfrey stars as a deity of sorts and appears to use the Disney movie, which is clearly designed to appeal to a younger audience, to preach a form of pagan self-worship.

In an apparent quest for praise from the politically correct crowd in the entertainment industry and film critic community, the big-screen version of “A Wrinkle in Time” places front and center the primary tenet of liberal theology, that being a highly redacted notion of diversity.

Both the original book and the current film adaptation utilize a basic plotline of a teenage girl, Meg, who along with a male friend and Meg’s little brother, embark on an intergalactic multi-dimensional search to find Meg’s longtime missing scientist father.

Mrs. Which (played by Winfrey), Mrs. Whatsit (played by Reese Witherspoon), and Mrs. Who (played by Mindy Kaling) are three mystery women with supernatural powers who magically appear in Meg’s life. The trio facilitates Meg’s access to a space-time transportation medium called a tesser, which allows an Oz-like journey to be set in motion.

In L’Engle’s original work, the three women are described as ancient star-beings, who function as guardian angels. However, in the current film adaptation they are depicted as characters similar to that of Glenda in “The Wizard of Oz,” conveying the concept that the three basically comprise a group of good witches.

As is representative of the modern payback currency of Hollywood’s brand of superficial thought, the male characters in the movie are either evil or inept.

Meg demonstrates that she is much more capable than her male counterparts in the tale. The supernatural character of male gender seems to be included for the sole purpose of bringing the element of humor to the scenes in which he appears. Known as Happy Medium (played by Zach Galifianakis) he is somewhat ambiguous in nature and wholly non-toxic in his masculinity.

At the conclusion of the movie, Meg is able to complete the story arc by securing the attendant treasured liberal value of self-esteem, and she does so by embracing the New Age and feminist ideology of the real-life Winfrey.

What is cinematically and artistically tragic is that L’Engle, much like the style of the beloved Christian literary icon C. S. Lewis, wrote her fantasy work through the lens of an explicit Christian worldview. She was an official writer-in-residence at a cathedral, and she possessed the kind of love and reverence for the Bible that so many in the film-going audience share.

L’Engle even sprinkled across the pages of her fantasy novel numerous scriptural passages from both the Old and New Testaments. But the makers of the movie somehow saw fit to surgically remove L’Engle’s quotations from the Good Book and her mention of the name Jesus, as well as any notion of the Judeo-Christian God contained in her novel.

Instead the film added “the universe” as an object of worship and did so in the prototypical New Age manner that for decades Winfrey has fostered and promulgated.

In the film, Winfrey’s character poses the following question: “What if the universe is all inside each of us?”

In order to move magically throughout time and space to the various exotic destinations embedded in the story’s plotline, one must, according to Winfrey’s character, “…become one with the universe and yourself.”

In an apparent effort to give the impression the film is in touch with current personalities, the movie adds references that are not in the book, including the names of Nelson Mandela, Oskar Schindler, Indira Gandhi, and Maya Angelou, as well as a nod to a hip hop play with the inclusion of a line from the Broadway show “Hamilton.”

With the biblical principles stripped away, “A Wrinkle in Time” is essentially a naked attempt at New Age propaganda. It is a fable cloaked in the moth-eaten fabric of cunning deception and hollow self-worship.