Radical Agenda S05E078 – The Meme War Heats Up

The Leftist media is in hysterics over a YouTube video in which Donald Trump’s head is superimposed on a character from a fight scene in a movie. In it, Donald Trump walks into “The Church of Fake News,” wherein all the churchgoers have the logos of media organizations, or the faces of his political enemies, superimposed on them. As per their pattern and practice, the fake news enemies of the people, and their subversive Democrat allies, attempt to kill the President. Unfortunately for these assassins, the President happens to be in possession of a pistol, and superhuman combat abilities, which he uses to lay waste to the whole lot of them.

The Press, suddenly aware of the serious impacts media can have on people’s behavior, are now in full panic mode, concerned this will somehow cause people to go out and murder reporters.

The informed observer has to suspect that this is the voice of a guilty conscience speaking. The traitorous Press has been glorifying the violence of Black Lives Matter and Antifa since prior to the President’s election. They have been hammering home the demonstrably false narrative that Trump is guilty of treason by adhering to foreign foes, which would necessarily subject him to the death penalty. They parade sham psychiatrists around, depicting the President as a “Mad King,” whose assassin would be smiled upon by history. They dedicate inordinate amounts of page space and airtime to mass murderers, gleefully dancing on the yet to be dug graves of the still warm bodies of the victims, celebrating their propaganda victory, and providing incentive to future killers in search of precisely this kind of notoriety.

They took a decidedly different tone when Kathy Griffin posed for a picture which appeared to show her holding the President’s decapitated head. Take for example Aja Romano at Vox, who wrote at the time;

Right-wing media and opinion writers rushed to criticize the incident as an example of the left’s vicious hostility toward the president and his administration, calling it “the tip of the liberal violence iceberg” and “political pornography.” But the context behind Griffin’s photo further complicates the controversy it has attracted.

The violent nature of the Griffin photo is also in keeping with its creator’s artistic tradition. Shields’s photographic art often flirts with violent themes, even when it’s not actively targeting political figures. For instance, in 2011 he collected blood from celebrities for use in his art, and later drenched his studio, Lindsay Lohan, and other performers in it.

While it’s arguable that none of these artistic statements were as shocking as the picture of Griffin holding Trump’s decapitated head drenched in fake blood, it’s also important to understand that Griffin and Shields’s photo recalls another artistic tradition: images of women beheading men.

The artists Lavinia Fontana and Artemisia Gentileschi painted recurring images of the biblical story of Judith beheading Holofernes. For Gentileschi in particular, the story allowed her to assert her empowerment through the metaphorical beheading of men with positions of political and sexual power over her. Modern artists like photographer Cindy Sherman have also turned to this theme.

Ah, well, as long as it’s being done all the time in the name of feminism, I suppose this is a great idea.

Then there was that play where Trump was depicted as Julius Caesar, and assassinated, night after night, in front of a live studio audience, for months.  Also at Vox, Alissa Wilkinson tells us “Why outrage over Shakespeare in the Park’s Trump-like Julius Caesar is so misplaced” by writing;

But right-wing media outlets’ swift move to offense and outrage over the production — and the uproar that ensued — does call into question how well any of those who are upset grasp the history of Shakespeare and his place in the Western canon, and whether they’re at familiar with Julius Caesar itself.

Because in short, a lot of people have completely missed the point of both the production and the play.

Interestingly, none of the media outlets currently fretting over the Trump parody video are terribly concerned with the context of The Kingsman, from which the scene was composed.

The Trump assassination play was sponsored by the New York Times, and CNN, both of which have been relentlessly hostile, and often dishonest, critics of the President.

Speaking of the New York Times, they famously published a story imagining the President’s assassination by a Russian spy who, upon failure of his weapon to fire, is assisted by none other than a Secret Service agent, just as anxious to see his boss take the dirt nap;

The Russian waited until they were a few steps past before he drew the gun. He sighted on the center of the president’s back, and squeezed the trigger.

The Makarov misfired.

The Secret Service agent at the president’s shoulder heard the click, spun into a crouch. He registered the scene instantly, drawing his own weapon with razor-edge reflexes.

The Russian tasted failure. He closed his eyes and waited to pay the cost.

It did not come.

He opened his eyes. The Secret Service agent stood before him, presenting his Glock, butt first.

“Here,” the agent said politely. “Use mine. …”

How about Joe Biden, who announced his campaign for President of the United States, by releasing a video of the violence from Charlottesville, featuring none other than your humble correspondent, and calling the communists who planned and initiated that mayhem, “a courageous group of Americans”.

Then there is the media’s praise and promotion of Mark Bray, the Jewish professor who authored “Antifa: The Anti-Fascist Handbook” which glorified Left wing political violence across the last century, spanning several continents, in enthusiastic support of precisely the mayhem we’ve seen plague our discourse for the last several years.

No wonder the media is so concerned about images depicting their deaths. They know all too well what their intent is, when they promote violence across their mediums. They want Republicans to be assaulted and afraid to show their faces. They want the President to be assassinated, and incapable of leading the country. So they promote exactly that sort of thing across their pages, airwaves, and websites, and they’ve gotten everything but the President’s funeral as a return on their investment.

For the Right to respond in kind, terrifies them, precisely because they know how effective this sort of thing can be. They encouraged violence, they got it, and so they promoted more violence, and watched in glee as the violence escalated unchecked. They do not want to live in a world, where they are actually under the kind of threats they constantly pretend they are under. They fear if these sorts of things continue to proliferate, that the next mass shooter might kill somebody who actually deserves it, and they know full well that they would rank very high on that sort of hit list.

But, thanks in large part to their successful efforts to deplatform their critics, they are shielded from the sort of input that might cause them to consider why people would cheer at a video depicting their violent demise. All they know is that they hate the President, and that anyone who doesn’t agree with them is a Nazi, because that is what they see in their Twitter mentions, and talk about with one another over cocktails.



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