Tina Fey Defiles Memory of Murdered Actor and Mocks Male Victims of Child Molestation While Denouncing “Hate Speech”

Tina Fey: hypocritical, thoughtless bitch

I don’t normally commit slurs to the page: I just think them. My non-slur caption for this photo was “Tina Fey: Not Derrida.”  But I can commit the word “bitch” to the page because calling someone a “bitch” doesn’t count as “hate speech” by Fey’s lights.  Unless, of course, it’s said about a man.  Otherwise it’s just banter.  It certainly isn’t something that summons images of men calling women “bitches” as they stomp their faces into gravel, or abandon their broken bodies on the tall grass side of the road, or boil the skin off their bones on the kitchen stove.

Nope, “bitch” directed at females is a freebie, and doubly so when it comes from the mouth of an attractive woman like Fey.  You go, girl.

Fey recently slammed co-star Tracy Morgan for saying crude things about gays during a stand-up routine.  She did so, she said, because of the existence of anti-gay violence in the world.  If this really were the litmus test for comedy, there would be no comedy.  And Fey didn’t merely slam Morgan: she insinuated nastily that he should be on his knees thanking God for being forgiven by her and the gay people who work on 30 Rock. Here is her diatribe, which ugly-juggles sanctimony and threat:

[T]he violent imagery of Tracy’s rant was disturbing to me at a time when homophobic hate crimes continue to be a life-threatening issue for the GLBT Community. . . I hope for his sake that Tracy’s apology will be accepted as sincere by his gay and lesbian coworkers at 30 Rock, without whom Tracy would not have lines to say, clothes to wear, sets to stand on, scene partners to act with, or a printed-out paycheck from accounting to put in his pocket. The other producers and I pride ourselves on 30 Rock being a diverse, safe, and fair workplace.”

Well, slap my ass with a five-pound take-out chicken from Whole Foods, as one of Ms. Fey’s syndicated stereotypes might say.  Look, during a week when a jury in Cincinnati is deciding whether a baker’s dozen of raped, dismembered and decapitated women should equal death for a mere male-on-female hater, you’d think Ms. Fey would be more “inclusive” in her angst over victimization.

You’d think wrong.  In fact, Fey and the rest of the extra-sensitive 30 Rock crew were super busy this week mocking male victims of child molestation.

Thanks to the existence of a politically correct hate crimes movement that assigns wildly different values to different types of crime victims, the arithmetic of outrage has become so warped that Tracy Morgan, a black man who was raised in extreme poverty, whose father died of AIDS, whose brother suffers from cerebral palsy, and who recently endured the horrors of kidney failure, has become a kicking boy for powerful people like Fey . . . who makes her living mocking other people’s misfortune by playing pathetic versions of them while standing on red carpets criticizing “bullying” by others.

But Tina Fey didn’t jump down her ill co-star’s throat on just any day: she did it as 30 Rock was busy ridiculing young male victims of child sexual abuse using a star whose speciality is demeaning murder victims.  You know, real rape, real murder, of real young men, not the chimera of potential future victims Fey waved in all our faces to conveniently distance herself from Tracy Morgan.

This week, 30 Rock featured a disturbing cameo by Susan Sarandon playing a child molester who has come back to reclaim the “affection” of her grown victim, an emotionally damaged character named Frank Rossitano.

Would Fey have approved a script featuring a female victim of child sexual abusing sucking face with her adult male rapist, played for laughs?

Would Fey have approves a script featuring a gay male victim of child sexual abuse sucking face with his adult gay male rapist, played for laughs?

Two guesses.  Hint: one answer.

But Fey’s extraordinary insensitivity to real victims of actual hate-fuelled violence doesn’t end with her choice of plot.  Another choice reveals the depth of her selective outrage.  By choosing Susan Sarandon to play the role of a convict and sex offender, Fey is spitting in the face of a victim whose murderer Sarandon helped free from prison, then continued defending, even after he killed an aspiring young New York actor in cold blood.

This is the actor killed by Sarandon’s acolyte, Jack Abbott, with whom Sarandon was clearly enamored, to the point of naming her unborn child after him:

Richard Adan, aspiring actor.  Killed at 22 thanks to advocacy by Susan Sarandon that freed his killer

Who is Tina Fey to pretend that Tracy Morgan’s comedy act might contribute to anti-gay violence as she prances around with a sick women who is utterly unrepentant about the starring role she played in a real hate killing (all murder is hate killing) that took a young actor’s life?

Don’t expect Fey to answer that question.  In the entertainment world, some people’s lives are just more important than others’.  And some people’s murders, and rapes, are apparently just funnier.