The times, they are a changing.
Abortion in the United States had become a tiring topic of debate over the last few decades. The fact is, no matter much the pro-life side argued against pro-choice opposition, very little changed in terms of legislation, but that is rapidly changing as we speak. The reason for this change is that the conversation on the issue has shifted.
For years we debated on “a women’s right to choose” but we never went into detail about what that ‘choice’ was. We debate on a woman’s body but not the life inside of it. We have been told abortion is normal, but haven’t gone into detail about what that process is. When talking about ending a life, we are told that it isn’t a baby and we aren’t terminating anything but a clump of cells or an embryo. So why has this changed over the last couple of years? Because films such as Unplanned and Gosnell: America’s Biggest Serial Killer have exposed the ugly truths of the abortion industry that most people have been blind to for decades, and the media is NOT happy.
It is undeniable the effect that pro-life films are having on our nation’s discourse. Many people who considered themselves to be moderate on the issue are changing their tune because there is now information and science to suggest that abortion isn’t simply the harmless procedure we have been sold all these years. Meanwhile, members of the media who have long created the romanticized outlook of abortion are not too pleased that people are having their minds changed. Look no further than Jia Tolentino‘s New Yorker hit piece on Unplanned and Gosnell.
Now, The New Yorker (not to be confused with New York Magazine which earlier this year in a piece entitled “Unplanned Is a Movie That Could Get Someone Killed” makes the case that the film will drive people to commit homicide at abortion clinics) writes an article entitled, The Messiness of Reproduction and the Dishonesty of Anti-Abortion Propaganda. The writer of the piece makes it very clear that she is for abortion in every case, including late-term and attacks the pro-life films in the following statement:
Anti-abortion propaganda, like “Unplanned,” or like “Gosnell,” the transparently racist, repulsive criminal-justice movie that was recently screened in Donald Trump’s White House, is produced to have an impact.
These movies, then, can slide in with ultrasound images of a sentient, desperate thirteen-week fetus—or, in the case of “Gosnell,” which I regretfully paid to stream on my laptop, graphic descriptions of an abortion performed via the insertion of a “ball of blades” into the uterus—and present this as the reality of what abortion is.
Let’s back up just a bit here.
The film Gosnell is based on the true story and criminal case of Kermit Gosnell, an abortion doctor convicted of three counts of murder due to killing babies who were already born alive (a process that is now being legalized in states like New York). In the film, two Philadelphia Detectives raid an abortion clinic to discover the faculty is run under completely hazardous conditions such as nurses who lack the proper training to give aid and hundreds of discarded dead babies that are bagged up and scattered everywhere. Without the film, many people find themselves completely ignorant of the case due to the lack of media coverage despite his 2013 conviction.
Unplanned focuses on the real-life story of Abby Johnson, who became one of the youngest Planned Parenthood clinic directors in the United States. Johnson details her experience with the company and the events that lead to her leaving to become a pro-life activist. Unplanned shows the audience the uncomfortably brutal methods of ‘ending a pregnancy’ that Planned Parenthood oversees. The film was a culture shock to those who only know the organization through it’s romanticized image in the public square. With so much secrecy about an organization that receives over 500 million dollars a year in federal tax money, Unplanned opened the doors for people to see what happens when they are closed.
What Unplanned and Gosnell have achieved, they have changed the narrative and discussion on a decades-old debate. They have challenged the preconceptions of those who have sat on the fence while inspiring others to fight back like they haven’t done in years. The fact that The New Yorker felt the need to bury these films months after their release proves that these movies are having an impact and they are indeed changing minds on the subject to the media’s dismay.
Pro-Life bills have begun to be crafted and passed in states that are countering their pro-abortion counterparts. Laws that ban abortion when the heartbeat of a baby is detected, a point that upsets pro-abortion activists who believe that unborn babies should not be classified as such. Alabama and Georgia have become the two biggest states that are fighting back against the abortion lobby known as Hollywood (with their friends in the media) and are passing laws to protect the unborn from the fates depicted in the films already discussed. The Missouri state Senate just passed a bill banning abortions at eight weeks, with no rape or incest exceptions. Iowa, North Dakota, Mississippi, Kentucky, Ohio, South Carolina, and Tennessee are other states that are following suit. This is where the vitriol of The New Yorker comes in. At one point, however, the writer accidentally makes a great point about why pro-abortion films and television shows don’t have the same impact Unplanned and Gosnell.
But there is no equivalent to “Unplanned” or “Gosnell” on the left. The movie “Obvious Child,” starring Jenny Slate, which came out in 2014, received good reviews, and made $3.3 million, took on abortion as a subject, as have a handful of recent television shows, including “Girls,” “Scandal,” “Jane the Virgin,” and “Shrill.” But whatever radicalism existed in these stories involved framing abortion as ordinary.
While the writer seems to believe that pro-choice content can’t win because they don’t evoke fear, the reality is, they don’t have an impact because they don’t tell the truth. When your goal is to convince the populace that abortion is fine and no one is really being hurt, you don’t have a story to tell. Everything is fine because if it wasn’t, that would go against your entire narrative. How can your films connect with your audience when the goal is to whitewash the conflict at hand?
The pro-abortion lobby is without a doubt terrified of the impact that pro-life films are having on our nation’s climate. They fear that Roe vs Wade may one day be overturned (side bar: The woman in question for that case, lied about being raped and worked her remaining days lobbying to overturn it herself) however even if it was, abortion would NOT be banned but the fate of abortion would return back to the states as it always should have been per the 10th amendment. The fear of people who claim to be ‘pro-choice’ is that people would choose not to be on their side. Gosnell is currently available on DVD and VOD. Unplanned is set to be available in the coming weeks.
Editor’s Note: Notice how the words ‘God’, ‘Faith’, ‘Jesus’ or ‘the bible’ were NOT used in the making of this piece. It’s almost as if you can have an objection to abortion that has no founding in religion, crazy right?