Reading Ben Shapiro’s Primetime Propaganda: The True Hollywood Story of How the Left Took Over Your TV is similar to time traveling through the pages of a TV Guide. Dozens of television series from the past 50 years are dissected through Shapiro’s conservative lens – or, at least, what passes for Shapiro’s brand of conservatism – to reveal his perception that the television industry is – gasp! – overrun by social liberalism.
Trouble is, Shapiro finds signs of liberalism in nearly everything he’s viewed on the boob tube, and wields this bias indiscriminately against programming that may or may not possess a “liberal agenda.” His book may or may not be retaliation for a rejection the young author received for having his Hollywood aspirations dashed after producers vetting his background discovered Shapiro has authored a syndicated conservative column since his Harvard Law School days. This anecdote prefaces his lengthy jeremiad against the liberal establishment in the television industry.
When reading Primetime Propaganda, one is reminded of Harvard University professor Irving Babbitt who railed so much against Jean Jacques Rousseau that his students speculated he checked under his bed each evening to ensure the French philosopher wasn’t hiding there.
Like Kevin McCarthy warning against the Invasion of the Body Snatchers or Charlton Heston discovering the little crackers in Soylent Green are made from people, Shapiro casts himself as a lone voice crying in the wilderness about the prevalence of liberalism in television, portentously outlining the thesis for his work:
After reading Primetime Propaganda, you’ll be awakened to what’s really going on behind the small screen, and you’ll be stunned to learn that you’ve been targeted by a generations of television creators and programmers for political conversion. You’ll find out that the box in your living room has been invading your mind, subtly shaping your opinions, pushing you to certain sociopolitical conclusions for years.
That Hollywood is predominantly liberal is no surprise to anyone and there are plenty of examples to support this. But that doesn’t prevent Shapiro from hammering as hard as he can to fit pegs of all shapes into an ill-defined liberal hole. Such an approach amounts to nothing more than buckshot as he fails from the outset of his enterprise to define adequately the terms “liberal” and “conservative.” Read without this crucial critical perspective, I suppose anything that offends the author’s sensibilities is deemed the former and anything he enjoys must fall into the latter realm. However, Shapiro confesses to enjoying such programs as Friends and The Simpsons, which he also classifies as promoting social liberalism. Apparently, he reconciles this inconsistency by possessing immunity to the sociopolitical mind control to which the rest of us without Harvard Law degrees are susceptible.
Further, Shapiro takes the too easy path in many instances to declare programs such as All in the Family as liberal indoctrination. On this in particular, I beg to differ. The 1970s program was indeed created by liberal producer Norman Lear and featured the outspoken activist actor Rob Reiner in a featured role, but to malign the program for this and its admittedly intermittent liberal subject matter is to throw out the baby with the bathwater.
Lear’s All in the Family might have accomplished more for the civil rights movement than any number of protests, documentaries, and marches simply by creating a lovable, bigoted curmudgeon whom viewers loved despite his innumerable prejudices. Shapiro writes that the program made fun of blue-collar conservatives through its depiction of a racist dockworker. If an unreformed Archie Bunker represents the type of conservatism Shapiro advocates, I’ll take a pass. The under-30 Shapiro may not recall the rampant racism of the early 1970s, but this writer certainly does.
By listening to Archie Bunker’s stridently offensive and indefensible rants, millions of 1970s television viewers – some possessing similar if not identical views – witnessed the absurdity of his intolerance, and warmed to the black Lionel Jefferson and Italian house-husband Frank Lorenzo far more quickly than did Archie. This may not adhere to Shapiro’s version of conservatism, but it certainly tracks with conservative Judeo-Christian principles of loving one’s neighbor regardless of race, creed, or color.
Additionally, viewers also witnessed the hypocrisy of Rob Reiner’s avowedly counterculture character, Michael “Meathead” Stivic, who mooches off his in-laws and behaves chauvinistically toward his wife. In at least one episode, Stivic was revealed to be as intolerant in his countercultural views as Archie was in his bigotry. I hardly perceive of this as an affront to conservative values.
It’s undeniable that television programming is antithetical to many true conservative values, as it repeatedly attacks Judeo-Christian traditions, attacks religious beliefs at seemingly every opportunity, and promotes statist policies and alternative lifestyles. But what’s called for isn’t Shapiro’s broad-brushed approach but a far more incisive analysis of the television industry’s promotion of secular liberalism.