If you were somehow under the illusion that money, not far-left ideology, was the motivating factor in Hollywood, consider the new film “Habit” and its likely low box office receipts in comparison to Christian and faith-based films. As an example, “The Passion of the Christ” made $622 million. “Dogma,” an anti-faith film, made a measly $44 million. So it has nothing to do with boffo ticket sales and everything to do with a concerted assault on Judeo-Christian values.
Which specifically brings us to the subject at hand, as word comes out that Michael Jackson’s daughter, Paris Jackson, has a starring role in “Habit,” portraying the character of Jesus Christ, as a lesbian. Yes, you read that right.
Paris Jackson’s ‘lesbian Jesus’ film under fire as 270K people sign petition to stop ‘Christianophobic’ film release https://t.co/vM8u1ccMCu
— The Irish Sun (@IrishSunOnline) July 1, 2020
Christians are legitimately upset at this and have started a petition to stop the film’s release. That only, as the film’s promoters designed it would (they may even be behind the petition itself), gives the film more press and bigger exposure. The film also stars a former Disney actress, Bella Thorne, who specializes in porn flicks.
Jackson reportedly plays a girl “with a Jesus fetish who gets mixed up in a drug deal gone bad, and escapes by dressing up as a nun.” If this kind of treatment were given to Mohammed, another religious icon, or any left-proclaimed secular saint, the idea would have been stomped on at the pitch meeting. But if it targets Judeo-Christian ideals or figures then it passes muster. Why?
First of all, Hollywood does not dare insult Islam for several reasons. They are physically afraid of reprisals, as your typical Hollywood type is not filled to the brim with courage—moral or otherwise. One sideways look from Tehran and they would be urinating all over their Gucci knockoffs. Secondly, the PC crowd would neatly forget the treatment of gays and women in Islamist cultures and pillory any filmmaker that took on the topic as “Islamophobic.” Granted, calling a knowledgeable Westerner “Islamophobic” today is like calling a Jew “Germanophobic” in 1938, if not so much in current threat as in current intent.
This film, if it can be called that, also attempts two bites at the offensive apple when it comes to Christianity. First, Jesus as a woman and then, perforce, Jesus as a lesbian. The writers must have snickered at that duet and all the Bible belters they think will be offended. But people of faith have endured so much for so long when it comes to their religious notions that this will only elicit a yawn and an eye-roll from many. So even on the offensive level this movie fails to score much.
It is just another salvo in the long-term cultural war between the values of California versus the values of America, of a land of socialist make-believe against a land that still comprises many who believe in Judeo-Christian faith and reverence. Eventually, as in the slogan of the film “Highlander,” only one will triumph.