Historians analyzing the first quarter of the 21st Century will have many anomalous riddles to ponder about the no longer ruling class. Did they really believe defunding the police would lower crime? That employment based on race, sex, or sexual orientation rather than merit would produce a higher standard, including for the military? That black lives mattered more than others? That climate change would destroy the planet by — just pick a date and push it back a decade. That importing millions of anti-Western immigrants would strengthen Western Europe — and those who refuted this online should be arrested? That preborn infanticide was a woman’s right? That bodily butchery could turn boys into girls — and those who denied it should be banned or expelled? And that fat black women represented the zenith of beauty after 5,000 years of white-privileged sexism?
Much has been said about the hideous 12-feet tall bronze statue of a homely obese woman of color just erected in Times Square. The subject stands proudly with hands on hips a la Wonder Woman challenging the Nazis. And we are the Nazis, according to sculptor Thomas Price, for depreciating her race and sex.
“The intention of my public works is to become part of the place they inhabit and its physical, material history,” wrote Price. “I hope (the series of statues) will instigate meaningful connections and bind intimate emotional states that allow for deeper reflection around the human condition and greater cultural diversity.”
It takes considerable mental effort to translate PC gibberish into English, but what Price meant is, “Take your racist chauvinistic eyes off Alexandro of Antioch’s Venus de Milo (130-100 BC), Botticelli’s The Birth of Venus (1484-1486), and nature’s Raquel Welch (1940-2023) to behold true politically correct beauty.” Price promotes the early 21st Century leftist zeitgeist by diminishing not only female beauty, male appreciation of it, whiteness, and fitness, but womanhood itself. And in this mission, he has corporate reinforcement.
A new television commercial for something called Sling TV is particularly offensive, if laughable in its misjudgment. The ad was inspired by the Sirens of Greek Mythology — temptresses whose alluring song suggested an irresistible beauty that lured sailors to their shipwreck doom. They’re most famously referenced in The Odyssey. Odysseus has himself tied to the mast so he can hear the Siren Song yet be unable to succumb to the fatal enchantment. “Those creatures who spellbind any man alive, whoever comes their way,” Homer wrote.
Whoever draws too close, off guard, and catches the Sirens’ voices in the air — no sailing home for him, no wife rising to meet him, no happy children beaming up at their father’s face. The high, thrilling song of the Sirens will transfix him, lolling there in their meadow, round them heaps of corpses rotting away …
From Ancient Greece into the 20th Century, the finest artists have sought to depict “those creatures” Homer described. One of the best was British painter Herbert James Draper in Ulysses and the Sirens (1909). Hollywood wasn’t making movies in Homer’s time, or The Odyssey would have been called The Illiad II: The Voyage Home. But it did coin the term Screen Siren, and bestowed it to the likes of Rita Hayworth, Ava Gardner, Lana Turner, Kim Novak, Marilyn Monroe, and Kathleen Turner.
Sling TV went a different route with the Homeric legacy — one the company thought was au courant but is instead embarrassingly passe. Their commercial introduces an ancient galley manned by a motley rowing crew. The main guy says, “I wish my TV provider let me choose what I paid for.” Cut to an island of ugly Sirens led by, yes, a fat black woman and a repulsive heavy bald white man — that’s right, all-women sirens are sexist. It’s the least enticing group ever shown in an ad. “Sling lets you do that,” the fat black woman says.
Since the early days of television to the late 90s, all the Sirens would have appealed to male fantasies and been played by sexy starlets. Many of them got their big break from TV commercials. They include Barbara Feldon (Revlon to Get Smart), Farah Fawcett (Noxzema to Charlie’s Angels), Cybill Shepherd (L’Oréal to The Last Picture Show), Lynda Carter (Maybelline to Wonder Woman), and Courteney Cox (Tampax to Friends).
But the feminist fanatics now controlling both Hollywood and Madison Avenue “would never promote a product by subjecting women to the Male Gaze, no matter how much money they lose. So, if any real men were looking for a TV provider that let them choose what they paid for, they’d avoid Sling TV like the plague. Which is what its Sirens look like they’re suffering from. The ad makers can’t adjust to men rejecting them, and neither can the party they support.
A Rasmussen Reports poll for the week of May 4-8 found 55 percent of men approve of Trump. It may have something to do with the attractive, smart, feminine, and classy women in his Administration, such as Pam Bondi, Tulsi Gabbard, Kristi Noem, Karoline Leavitt, and others. While the Democrats field men-repellent shrews like purple haired Congresswoman Rosa DeLauro, bald Congresswoman Ayanna Pressley, America-hating Congresswoman Rashida Tlaib, foul mouthed Congresswoman Jasmine Crockett, spooky Congresswoman Maxine Waters, and many more.
It’s no surprise that the only cute Democratic Congresswoman, Alexandria Ocasio Cortez, is also the most popular. As for the rest, there’s not a Siren in the bunch.
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