“Disney’s popular live-action remake of its classic animated film ‘Aladdin,’ now enjoying hot reviews, especially from movie-goers (currently 94 percent positive on movie review aggregator ‘Rotten Tomatoes’), is actually “rooted in racism, Orientalism and Islamophobia. At least, that’s according to the Council on American Islamic Relations.”
There are no limits to CAIR’s imposition of Islamic supremacism upon American culture and society, despite stating on its website:
CAIR’s vision is to be a leading advocate for justice and mutual understanding.
CAIR supports free enterprise, freedom of religion and freedom of expression.
CAIR does not advocate freedom of expression, nor justice nor mutual understanding. It is a one-way street with CAIR. It aims to shut down any expression that it considers offensive to Islam and to Muslims. Normative Islam transcends personal faith. It is also a complete social and political system, as revealed by the Sharia — regarded by Muslims as divine law. Since Muslims are commanded to spread the religion and conquer the House of War, the Islamic principle of al-Wala’ wal-Bara’ is foundational. This concept commands complete loyalty to Islam and disavowal of all others. So “it is not enough for a Muslim to dislike un-Islamic practices and non-Muslims; instead, true Muslims must reject un-Islamic practices and non-Muslims actively and wholeheartedly.” This is the heart and core of Islamic supremacism; it is the reason why disbelievers relentlessly are beaten down for being “Islamophobic” for merely a whiff of anything that offends Islam or Muslims.
The UK did a U-turn in mid May and rejected the working definition of “Islamophobia” created by an All-Party Parliamentary Group on British Muslims. The group stated that “Islamophobia is rooted in racism and is a type of racism that targets expressions of Muslimness or perceived Muslimness.” One can see how the “Islamophobia” ploy works hand in hand with the concept of al-Wala’ wal-Bara’; i.e., anything Muslim is superior and any disbeliever who confronts this superiority either intentionally or unintentionally will face the wrath of the “anti-Islamophobia” brigade. Hamas-linked CAIR is one of the biggest such “brigades” on Western soil. CAIR’s supremacist disdain for American culture and values is palpable in accordance with al-Wala’ wal-Bara’; how dare Hollywood try to depict anything remotely connected to Islam in anything but a uniformly positive light? Evidently, had CAIR et al been consulted in the making of the movie Aladdin, the movie would look quite different, not to mention being a box office flop.
CAIR also condemned Law & Order: Special Victims Unit for a so-called “Islamophobic” episode, and CAIR didn’t stop there. It wrote a letter to the show’s executive producer to “urge you and your staff to meet with leaders of the Muslim community to learn why this episode makes the rising tide of bigotry even worse, and what you can to do mitigate the damage that has already been done.”
As CAIR was busy shredding the endearing movie Aladdin as being rooted in “racism, orientalism and Islamophobia,” the group couldn’t resist adding in a few jabs against Trump, too:
Moreover, says CAIR, it is especially bad to release such a movie “during the Trump era of rapidly rising anti-Muslim, anti-immigrant and racist animus.” That “only serves to normalize stereotyping and to marginalize minority communities,” the organization claims.
While CAIR continues to make a societal nuisance of itself, an Investigative Project report “noted that CAIR’s protest ‘has not garnered much traction’.”
“U.S. ISLAMISTS BLAST DISNEY OVER ‘ALADDIN,'” World Net Daily, June 13, 2019:
Disney’s popular live-action remake of its classic animated film “Aladdin,” now enjoying hot reviews, especially from movie-goers (currently 94 percent positive on movie review aggregator “Rotten Tomatoes”), is actually “rooted in racism, Orientalism and Islamophobia.”
At least, that’s according to the Council on American Islamic Relations, which while claiming the mantle of Muslim civil rights organization has a long trail of terror ties, including being named by a federal judge as a co-conspirator in the largest terror-funding trial in U.S. history.
Moreover, says CAIR, it is especially bad to release such a movie “during the Trump era of rapidly rising anti-Muslim, anti-immigrant and racist animus.”
That “only serves to normalize stereotyping and to marginalize minority communities,” the organization claims.
But, asks Hany Ghoraba, for the Investigative Project on Terrorism: “What happens when you take a classic story created by a Syrian writer, modernized with a multi-ethnic, multi-national cast, that tops the box office from the United States to the Middle East?”
“If the Council on American-Islamic Relations is involved,” says Ghoraba, “you get empty cries of ‘Islamophobia.’”
The CAIR statement, from its founder and CEO Nihad Awad, lashed out at Disney: “The overall setting, tone and character development in the ‘Aladdin’ story continues to promote stereotypes, resulting in a perpetuation of Islamophobic ideas and images. We urge the public and film critics to scrutinize the new production of ‘Aladdin’ in light of its historical context and today’s toxic environment for all minority communities.”
Not surprisingly, the Investigative Project report noted that CAIR’s protest “has not garnered much traction.” It added:
“A Seattle Times review described the movie as ‘misconceived’ and said it ‘lacks real magic.’ It briefly mentioned the CAIR complaint, but countered with Disney’s emphasis that ‘its cast is the most ethnically diverse in the company’s history.’ CAIR’s complaint is an odd one, since Muslims do not constitute a race, and represent ethnicities from across the globe. As for claims that the story is rooted in Orientalism, the ‘Arabian Nights’ stories are a Middle Eastern creation that has existed for more than a millennium. ‘Arabian Nights’ stories originate from Persian, Indian, Egyptian, Syrian and Iraqi stories. According to Egyptian actress Lubna Abdel Aziz, television shows based on the ‘Arabian Nights’ often premiered during the Muslim holy month of Ramadan,” the report said.
But according to CAIR, the story “is rather the invention of French orientalist Antoine Galland and made popular in English by Richard Burton who overly sexualized the story to further exotify Arabs and Muslims.”
Further, laments CAIR, a children’s version “has been the source of alienation and trauma for Arab, South Asian and Muslim children.”…..