Hollywood to the Rescue!

Whenever the Liberal narrative is threatened by reality, you can always count on Hollywood to deploy their elite Liberal writers to come to the rescue.

And this week’s episode of “Major Crimes” was definitely riding to the rescue of the “Terrorism has nothing to do with Islam” messaging of the Left.

*NOTE: This column contains spoilers to this week’s episode of “Major Crimes.” If you haven’t seen it yet, but plan to watch, you may want to wait until after you’ve watched to read this.*

Last year, in Season 4, “Major Crimes” deployed their Conceal Team to appropriately frame the narrative about Obama granting amnesty to “DREAMers.” I wrote about that bit of propaganda HERE.

This spin-off from the Kyra Sedgwick series “The Closer” is one of the few television shows I still watch — though, through iTunes, not cable. It lacks the cohesiveness of “The Closer,” but the characters are the same, and on occasion the plots are pretty good.

But every now and then the writers have a pesky habit of acting like they’re writing for “Law & Order: SVU.” The “ripped from the headlines” plots are always imbued with the Leftist narrative — whether on “transgenders,” or “illegal alien minors,” or, like last night’s episode Foreign Affairs, the threat of radical Islamic terrorism.

Hollywood to the rescue

The episode opens with the FBI showing Captain Raydor and her team a video of a supposed ISIS-related beheading of an American veteran. In the video, the digitally-altered voice proclaims that ISIS will target vets who served in Iraq and Afghanistan. Then, a hooded man is beheaded (though, thankfully, not shown to the viewing audience).

The FBI tells Captain Raydor and Assistant Chief Taylor that this video is authentic. What’s worse, the video was made in LA County. Way off in the distance behind the masked terrorist they discover an LAPD helicopter flying. So the FBI asks Major Crimes to see if they can find the crime scene and maybe the body rather than having the FBI tip off the terrorists by investigating it themselves.

When the teaser ended, I said (to my dog apparently since she was the only other one in the room), “The killer’s going to be an Iraq War vet, you just watch.”

Guess what?

I was right.

No, I’m not Nostradamus. I just know how Liberal television writers think. I was educated with them, after all. I have an MFA in Dramatic Writing from Carnegie Mellon School of Drama. I sat beside these guys in classes, watched their plays and read their scripts. I know how their political slant infects their writing.

There was no way in hell a Hollywood script writer was going to let the killer actually be an Islamic radical. The Liberal Narrative must be maintained.

Even if “Major Crimes” hadn’t dropped anvil-sized hints along the way, I would have known the supposed “terror attack” was going to be perpetrated by a white man. Subtlety is not a common trait among the Left.

And trust me. There were anvil-sized hints.

First, the Iraq War vets who were friends with the victim referred to the Iraqis as “Muslims.” Never “Iraqi,” never “Sunni,” never “insurgents.” They only called them “Muslims.” To the untrained ear, this would not have been picked up. But anyone who knows even one Iraq War vet would know this was a mischaracterization. Then again, how many Hollywood writers rub shoulders with Iraq War vets?

The lesson this heavy-handed writer wanted you to glean was this: “Iraq War vets are unstable, intolerant Islamophobics.” And what better way to get that message across than to have them constantly refer to Iraqis as “Muslims?”

Second, the writer portrayed the FBI Counter-Terrorism agent (played by Annie Wersching formerly Agent Walker from “24”) as being dogged about proving that ISIS was in the United States to the point of ignoring all of the evidence.

Come on. Who believes that the FBI would behave like that? For heaven’s sake. After the Orlando shooting, the FBI was bending over backward to claim they have no idea what the motives of Omar Mateen could possibly have been. They couldn’t even bring themselves to use the words “Islamic terrorist.”

Anyone on Planet Earth who knows how this Administration and Justice Department operate would know that the FBI would have hopped on board the “Let’s figure out if this is anything but radical Islam” bandwagon. But Hollywood writers don’t live on Planet Earth.

Then, while the FBI was plowing ahead looking for ISIS, the genius detectives at Major Crimes were consulting with their resident shrink who explained to them what an “Injustice Collector” is. Because, if he is a terrorist, he isn’t motivated by jihad or sharia — he’s motivated by a psychological disorder.

And, in case you still haven’t gotten the point that terrorist acts have nothing to do with Islam, Dr. Joe lumps the San Bernardino terrorist attack into the same category as the shooting outside of the Planned Parenthood in Colorado Springs.

Like I said, subtlety is not their thing.

And, of course when they check the victim’s movements prior to his disappearance, they find out that he was at a strip club owned by … wait for it … a man named Asim Behdi! Of course! They’re from the Middle East! And, see? Middle Easterners are just like us! They own strip clubs in LA!

Plot twists are only “twists” when the writers don’t spend the first four acts dropping gigantic “Look at this!!!” hints.

In the end, the motive for the crime was greed. Turns out these three Iraq War vets — the victim and his two friends — had stolen six hundred thousand dollars they were ordered to destroy when they were serving in Iraq. During the interrogation, one of the friends complains about how America was giving that money “to Muslims” (again, not to “the Iraqis” or “the Sunnis,” but “the Muslims”). He complains about how it wasn’t fair that “the Muslims” were getting that money and they, the American war vets, were getting squat. So they took the money as compensation rather than destroy it.

And when their dead friend was wasting his cut on tipping half-naked waitresses at a Muslim-owned strip joint, one of his friends decides to kill him for his share.

See? No radical Islam here! Move along!

The final scene between Captain Raydor and her tiresome adopted son Rusty was the one that made me want to throw a brick at my iPad screen:

Rusty: That is awesome! Catching a terrorist? I mean how many guys can say that their mothers beat ISIS?
Raydor: Well, it wasn’t ISIS at all. Just a regular sociopath. Although there are similarities.

I half expected her to turn to the camera and say, “And terrorists are just like every other criminal in America and their crimes are just that, crimes. And we must do something about gun violence, even though this guy used a big old Iraqi knife. And the real terrorists are war veterans! Never forget! Fear the vets!”

What I found particularly distasteful about this episode was how, in an effort to somehow absolve Muslims of having anything to do with terrorism, the writer chose to portray Iraq War vets as being unstable, greedy, xenophobic, anti-Muslim racists.

The truth is, this episode would have been palatable had they simply left out the preachy “terrorism has nothing to do with Islam” angle. But, what do you expect? This is the Left’s narrative. And when the Left’s narrative is falling apart and these “peaceful Muslims” are slaughtering Americans, Hollywood has to rush to the rescue of the narrative.

It really is puke-inducing.

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