Regardless of its vociferous grassroots support in the petri-dish of university campuses, to ignore the origins of trans ideology in government, big business and the media is at best remiss, and at worst collusion. Not a ‘rights struggle’, but a concerted push from the top down
It is through this prism of manufactured chaos that the current phenomenon of trans ideology should be viewed. What better way to perpetuate their privileged position than to weaken the enemy through tried and tested methods perfected throughout history: dissemble, divert, divide and conquer? What Miller had witnessed first-hand during the anticommunist witch hunts instituted by Senator Joseph McCarthy, and later incorporated into Nicholas Hytner’s film, is the deception perpetrated by those in power: creating narratives that feed off fear, self-interest and hysteria while the ruling class and its gate-keepers remain aloof and secure.Īs citizens flail around, turning on one another in an effort to be saved, or nobly sacrificing themselves to preserve integrity, behind the smoke and mirrors the state retains its sure grip on the levers of power. Abigail requires no further prompting and leaves Salem under cover of darkness. Stone-facedly, the inquisitor, Danforth, flattens her with the retort that she is “mistaken”, stating unequivocally that a reverend’s wife could never consort with the devil. The teenage girl, emboldened by her newly privileged position, points a self-interested finger in the direction of a sceptical investigator, Hale, and accuses his wife of dabbling in the dark arts. It takes place during an exchange between the chief witness for the persecution, Abigail Williams, and the visiting deputy governor overseeing the witchcraft trials in Salem. Arthur Miller’s screenplay for the 1996 film adaptation of his 1953 play The Crucible dramatises a political reality absent from the original production.
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