By Dave Andrusko
The late Andrew Breitbart once said, “Politics is downstream from culture,” an aphorism (if not made into an absolute)that is spot on. In our domain, if you can commandeer the popular culture (and Planned Parenthood has made inroads in so doing), the anticipation/hope is politics will come along for the ride—aka there will be more approval of and acceptance of the annihilation of unborn children.
Everyone knows (as they say) that most of Hollywood is an extension of the Abortion Industry. But a long feature story in the Washington Post magazine explained in great detail how Planned Parenthood is leaving nothing to chance.
Here’s how Calvin Freiburger described the beginnings of Nora Caplan-Bricker’s “Planned Parenthood Goes to Hollywood”:
On Monday, the Washington Post Magazine published a feature on Caren Spruch, Planned Parenthood’s director of arts and entertainment engagement, and how she consults with entertainment projects that touch on abortion or birth control to ensure they’re depicted in accordance with Planned Parenthood’s narrative.
“Nobody used to call me,” Spruch said. “I would be watching TV and going to the movies and figuring out who I thought might be open to including these story lines. Now I have a couple of repeat clients. Now people call me.” She started out as a field organizer for the abortion giant in 1989, and started turning to entertainment as a way to reach younger Americans. “I thought: Oh, everyone says Hollywood is so liberal, but what are we doing with actors?” she recalled.
Lauretta Brown explained the mounting influence of Spruch, whom the writer-director of the awful Obvious Child movie called “Planned Parenthood’s secret weapon”:
Spruch told the Post that since assisting with the portrayal of abortion in the movie Obvious Child in 2012, Planned Parenthood “has advised on more than 150 movies and shows.” These include the shows Crazy Ex-Girlfriend, Jane the Virgin, The Deuce, The Fosters, and Parenthood.
Spruch could not have a more sympathetic confidante than Caplan-Bricker, who describes herself as a freelance writer who “run[s] all ideas by my dog.”
“Spruch is the rare person in the abortion rights movement for whom the past few years represent a long-awaited breakthrough in addition to a series of terrifying setbacks.” Caplan-Bricker writes. “She’s Planned Parenthood’s woman in Hollywood — or, in official terms, its director of arts and entertainment engagement. She encourages screenwriters to tell stories about abortion and works as a script doctor for those who do (as well as those who write about any other area of Planned Parenthood’s expertise, such as birth control or sexually transmitted infections). It’s a role she slipped into sideways, but one that now seems to be increasingly welcome in Hollywood.”
Ironically, this end-around is a tremendous testimony to the Pro-Life Movement whose grassroots education and political activism has the Planned Parenthoods of this world back on their heels. Consider this from Gretchen Sisson, a sociologist at the University of California at San Francisco who studies abortion in pop culture, whom Caplan-Bricker quotes as if she were the Oracle of Delphi herself:
“We’re in a place where abortion rights advocates don’t have a lot of hope of progress, particularly on the federal level…The potential of popular culture, and particularly television, is that it doesn’t need to wait for policy progress to happen. It’s an area where we can continue to do work, no matter who’s on the Supreme Court.”
Or, as Caplan-Bricker summarized, “Facing antiabortion majorities in D.C., Planned Parenthood is pinning some of its hopes on L.A. In the abortion wars, Hollywood is becoming a theater of last resort.”
We will never have Planned Parenthood’s presence in the entertainment industry or the resources to hire people like Spruch. We wish the sacredness of unborn life and the dead-end “solution” which is abortion was told more honestly in popular media. Such portrays do appear, just not nearly enough.
In the meanwhile, by our presence and by our actions we teach our children, our families, and our communities that we love both mother and unborn child—that we are and always be “both/and” rather than “either/or.”