Spotlight on double standards at the Boston Globe
When sex scandals involving Woody Allan, Roman Polanski and various Hollywood child stars bubbled to the surface again recently it was almost a certainty that they would quickly die away with nothing resolved. Outside the briefest news reports there seems to be a total lack of will for investigating these subjects thoroughly.
But there are some stories of institutional child abuse for which there seems no lack of enthusiasm, such as by Catholic priests. And you don’t have to be Catholic to wonder why this is.
The announcement of Best Picture at the 2015 Oscar ceremony caused a huge surprise — for the winner was Spotlight, a slow newspaper procedural which had been a poor box-office performer compared to the joint favourites, The Revenant and The Big Short.
Spotlight told the story of how the Boston Globe’s investigative reporter team exposed how the Catholic Church in Boston had been covering up for child abusing priests for decades. The long series of articles began on January 6, 2002. The resulting newspaper campaign was one of the biggest in American journalism in recent years, averaging out at two and a half items per day. Read more

For its fourth anniversary issue in the fall of 2016, Le Harfang, a French Canadian white nationalist publication, invited foreign contributions from a number of people, including me as an American. We were tasked with producing an article that 1) speaks to how the contributor sees the world for white people “in four or forty years,” and 2) offers advice on how to prepare for tomorrow’s world. Length was up to me, and Le Harfang’s editor would trim what I wrote if need be as he translates my English into French. I replied that I’d give it a go. This writing shares my response to the Le Harfang charge with an English speaking audience.
In this humorous film about Hitler’s return to modern-day Berlin, Er ist Wieder Da (English title: Look Who’s Back), Germans are caught on camera saying true things about Germany that are not what our elites want to hear. And it happens in the current year. They are so desperate to speak the truth that they are even willing to do so to an actor playing Hitler, Oliver Masucci (Italian and German heritage). This is remarkable, and it speaks to the desperation of German society. There must be such an infinite longing when one cannot dare utter the most commonsensical social observation, without reasonable fear of prosecution or at least censorship; and then to proclaim it for a film crew! It is ironic, and yet also somehow poetic. One cannot whisper the truth, yet one may broadcast it for millions, so long as they are willing to be cast as the fool in a masque of Cultural Marxism; a fool in the Shakespearean sense, which is to say, one who utters unspeakable truisms to an otherwise intolerant authority.




