I got quoted in a The New Republic column January 11 on the topic of Juno:

The politics of films like Juno, Waitress, and Knocked Up have become new turnbuckles in the wrestling ring of the culture wars.

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Befitting the binary nature of the abortion debate, they also serve as something of a civic Rorschach test: For every conservative celebrating Juno as what Pro Life Pulse blogger Jill Stanek calls “the movie pro-aborts will hate,” there’s a pro-choicer declaring that the real power of the movie lies in their autonomous lead characters’ ability to make their own decisions. “The flick is pro-choice in the most literal sense of the term,” The American Prospect’s Ezra Klein wrote of Knocked Up. “She has a choice; nothing is forced on her.” But critics on both sides of the debate imply something new and dramatic is afoot, even if no one quite agrees on what it means.

Nice spin! The pro-abort columnist, Michael Schaffer, of course ignores the truly contempt-ridden reviews his side has given Juno, like this one from RH Realtity Check, which is the actual truth….

Indirect in its underlying condemnation of abortion on request, the film is a far more costly blow against abortion rights than anything the anti-abortion crowd could possibly hope for or ever produce – and they are big gainers (at no cost to them) from its sappy popularity.

With all the attention we’re all giving to the pro-life phenomenon in movies of late, I expect Hollywood to reassuredly respond with one promoting abortion.
Which will fall flat.
Meanwhile, Juno is on pace to become Fox’s biggest hit. Made for $7.5 million, it is looking to “vault past $100 million and beyond,” according to Marketwatch.

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