Commentary by Susan Brinkmann
Feminists are thrilled about a new movie genre – “abortion comedy” – which debuts this month in a film about a stand-up comic who finds herself pregnant after a one-night stand and keeps her audience laughing all the way to the abortion clinic where she opts to “kill it”.
Newsbusters is reporting on the new film, called Obvious Child, which stars former Saturday Night Live cast member Jenny Slate as Donna Stern, a woman who is forced to face the realities of life after a “drunken hookup – and epic lapse in prophylactic judgment” that finds her pregnant. But instead of dealing with the enormity of the situation, Sterns journey to the local abortion mill “turns out to be the beginning of a hilarious and totally unplanned journey of self-discovery and empowerment” the reviews state.
Rolling Stone magazine described one particularly callous scene featuring Stern and a friend on the night before the abortion when she admits that she’s going to “kill it” the following day – and “the two unravel in sheepish giggles.”
As Newsbusters‘ Tim Graham and Brent Bozell write, “If America laughs at this, America is beyond redemption.”
The pro-abortion crowd is lapping it up with The New York Times praising the film for never wavering from its feminist path even as the cameras follow Stern into the Planned Parenthood clinic.
Like so many other feminists, who hated movies such as Knocked Up and Juno because of their pro-life message, Slate claims that “a woman who is not ready to have a baby making it work is not a happy ending to me. It’s a personal nightmare.”
She then brags about how women are coming up to her and thanking for making the movie because until now, they had been feeling guilty for not feeling guilty.
“In politics, abortion advocates love to fight about the rare exceptions – the rape, the incest, the late diagnosis of Down syndrome or disabilities. But this movie displays the much more typical abortion,” Bozell and Graham write. “It’s a clumsy episode of casual sex between strangers, followed by a violent vacuum-pump ‘cleanup’ at Planned Parenthood.”
Even more appalling, the abortion is presented as a “moment of maturity, authenticity, bravery, and resolve” with publicity materials claiming that “Donna finds out along the way what it means to be as brave in life as she is on stage.”
In other words, it’s not about the death of the child but of Stern’s “moment of personal growth.”
About the only thing funny about this movie is the fact that Slate actually told Rolling Stone that the film “is not an agenda movie in any way.”
It appears that the only people she’s kidding are the writers at Rolling Stone who actually published that unbelievably inane statement.
But Slate insists that the movie is about helping women to realize that abortion is no big deal. “The whole point is that women have this procedure, and they should have it safely, and it’s a part of life,” she said. “It doesn’t have to be this giant obelisk sticking out.”
As Graham and Bozell point out, the feminists who made this movie are revealing just how shallow and heartless they really are by pretending that there is no moral dilemma at all in the “choice” to abort a child.
“They see abortion as a natural part of the daily grind. You wake up, you get an abortion, you have a cheeseburger. The critics call this a ‘refreshing matter-of-factness’ about abortion,” they write.
“It can also be described as feminist nihilism. The selfishness and autonomy of the woman is paramount, and the accidental baby is just cannon fodder. When the murder of the innocents is celebrated, as comedy, civil society is destroyed.”
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