To the disdain of Progressives and their media puppets, last week’s lack of performance by Barack Hussein Obama at the October 3 presidential debates has officially vindicated Clint Eastwood and his empty chair metaphor, so much so, that I will now gloat and rub the Eastwood performance in the face of every Progressive in the country.
Mission accomplished, let me point out the hypocrisy of a Progressive outlet such as The New Yorker using the empty chair metaphor six and a half weeks after excoriating Eastwood and Republicans for its use.
The chair came out first, hustled in by security. Then Clint Eastwood entered, rambling. By the time he collected his thoughts, he was talking to the chair. He accused it of asking him to do unspeakable things to himself. Those of us watching the Republican National Convention, where the spectacle played out, were meant to imagine that the seat was filled by an invisible President Obama, but the very visible, slightly disheveled Eastwood was too transfixing. Eastwood wasn’t only a joke, though—he, if not the chair, spoke for a trend within the Party that the Romney team may not understand, let alone control.
Eastwood was the G.O.P.’s surprise guest, though it had been hours since his identity had been any sort of mystery. It was a measure of the Party’s anticipation, or perhaps pathetic eagerness, for Clint that Mitt Romney, in a video shown immediately beforehand, borrowed a phrase from Eastwood’s Super Bowl ad for Chrysler, about how America would ‘roar’ back. The campaign may regret the decision to put him in a position to set the tone for Romney’s big and redefining speech: Clint’s muttering session came just before Marco Rubio, who was set to introduce Mitt. Since he didn’t take the chair out of his pocket they must have had some idea of the device he planned to use, and either misjudged it or were afraid to say no….
As I mentioned in an earlier post, Eastwood’s empty chair metaphor was excellent. Of course, Progressives including the usurper-in-chief hated it.
There is additional hypocrisy lies in the fact that if Eastwood had made an appearance at the 2012 Democratic National Convention in support of Progressives, his appearance would have been a huge hit.
Case in point, the hypocrisy and magazine cover of this week’s New Yorker. Their use of the empty chair metaphor officially vindicates Eastwood, rendering him exceptionally perceptive, a hero and a patriot.