Well, while we're talking about National Review arts writers, I want to tell you about somebody.

I'm sure many of our listeners are familiar with him. If you saw my eyes glancing down while

you were talking, it's because I was trying to call up some of his greatest hits that I could

tell you about. Again, many of our listeners will know him, but Armand White, he's a critic who's

been around for 40 years. He used to write for the New York Press, which was an alternative weekly in New York. I believe early on Pauline Kale championed him. There's a blurb. I don't have it in front of me, but she said something along the lines of, I'll start reading an Armand Dwight piece and think he's way out of line. And then towards the end of it, I'll think he might be on to something.

And in fairness to her, you know, he was a better prose stylist and thinker early in his career.

Okay, so here's a paragraph or two from an article he wrote last fall about the fablemen's.

Speaking of Stephen Spielberg, he wrote, Spielberg's latest collaboration

with playwright Tony Kushner

suffers several crucial miscalculations.

Ever since Lincoln,

Spielberg's formerly ecumenical perspective

has been politically slanted.

Did he hope that the current craze

for quote-unquote non-binary gender identities

would make the collapse of the family

unit in the fablemans comply with the BLM charter or make it suddenly become popular. Oh my God. Oh my

God. Now that's a paragraph. Oh, my God. I mean, it's like, I mean, that's just like a full-on

reactionary beat poetry. Did he hope that the current craze for non-binary gender identities would make the collapse of the family unit in the Fableman's?

Are we following?

Comply with the BLM charter or make it suddenly become popular.

Okay, so, wait, so let's, can we just like walk through that?

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