by Mitch Kokai
Senior Political Analyst, John Locke Foundation
A few weeks after President Trump was sworn in, Michael Moore announced a one-man Broadway play using the advertising slogan, “Can a Broadway show take down a sitting president?” The answer turned out to be no. So Moore moves on to Fahrenheit 11/9, a two-hour movie in which he compares the World Trade Center attack to the Reichstag fire and plays footage of Hitler over audio of a Trump speech.
It’s the same old Moore we’ve seen for 30 years, except these days hardly anyone cares: Moore is a bit late to the Trump-is-Hitler party. Today he’s just another indistinguishable voice in a crowd of the very shouty, and his admixture of breathless hyperbole, vague calls for revolution, and corny humor has no zing. Every late-night comic is woke these days, and their writers are a lot more talented than Moore. His big cinematic stunt in this film is to take a tank of Flint, Mich., water to the home of the Republican governor, who isn’t present, and spray it over the fence into the yard: Watering the lawn to own the cons.
In Moore’s second anti-Trump movie (if you missed Michael Moore in TrumpLand, which grossed $149,000, you have a lot of company), our host’s analysis of Election 2016 is to suggest that reporters took it easy on Trump during the campaign because Big Media were run by fellow sexual predators such as Matt Lauer, Charlie Rose, Roger Ailes, and Mark Halperin. Moore cites no data, perhaps because even he noticed what actually happened: One study showed 91 percent of network-TV coverage of Trump was negative.