The “Apu” Syndrome Encapsulates Political Correctness

Pop culture, entertainment, and comedy use humor in critiquing society and representing the vehicle of defusing tense rhetoric with the tonic of laughter. It is a time-tested and implied cultural norm that all genders, races, politics, religions and businesses are equal opportunity members in being roasted through zingers, one liners, or blatant stereotypes that are completely over the top. At least that how it is supposed to be.

Instead, the hypocrisy of Hollywood is on full display for the universe to see, as television signals beamed into the vast expanses of the cosmos will now only feature gags and schtick bashing white families, Christians, gun owners, and Republicans, as the agenda of extreme leftists has forced the producers in the entertainment business to focus shame in proliferating a disgusting bias. And this is time for laughter, as the thought police have invaded the matrix of comedy.

The latest controversy of unchecked political correctness surrounds the timeless award winning show of the Simpsons and rumors that popular character Apu Nahasapeemapetilon, proprietor of the Springfield convenience store and of East Indian descent, may be written out of the show, because somebody apparently complained. Apu, voiced by Hank Azaria and known for one line quips, terrible karaoke, and a graduate education background, has been the focal point of a number of episodes, including the infamous “Who Needs The Kwick-E-Mart?”, where he is unceremoniously terminated from his dream job and replaced by James Woods. Woods gains employment on the thankless night shift to hone his acting skills for an upcoming movie role. How is this not funny on a multitude of levels?

With the pending removal of Apu, the stunning hypocrisy does not require a complex explanation. As a white male, I can laugh at the negative role models of Homer Simpsons, Krusty, Barney Gumble, Mr. Burns, Moe, Ned Flanders, Auto, Kearney, Chief Wiggum, and Reverend Lovejoy. Throughout the entire spectrum of zany characters, there very little semblance of respectable qualities, as the writers portray Caucasian men as lazy incompetent criminal drunks, who flounder in mediocrity and destroy the environment, pervert religion, and are the epitome of mediocrity. But again, the show is a humorous cartoon, and the bits are clever and funny. The premise behind the Simpsons, before the latest brush with out of control PC crappiness, is that everyone and everything  in society was subject to the barbs and hijinxs of the comedy. That was the pure and underlying  raw brilliance of the show.

Instead, individuals culturally affected by the concept of Apu, have gone as far to produce a documentary profiling the apparent profound societal impact of the character in creating a decadent mental masturbation dialogue resonating in confusion and utter defeat, as the idea of a cartoon has crossed the line as sacred mechanism of indoctrination and not conducive to free speech and entertainment. Can one imagine if a public hissy fit had been made over the title of the movie, “White Men Can’t Jump”? But the film was edgy and funny and entirely in the realm of comedy.

My advice to those who choose to be offended by Apu, get over yourselves, and realize that one of the greatest privileges afforded by a society of liberty and freedom, is the ability to laugh at oneself. The world of entertainment does not and should not follow social morays and allows for an escape for the polarizing and toxic news cycle of the extreme of the political spectrum threatening to tear the country to shreds. And similar to the base tenets surrounding government, once something is demonized, it is forever.

Learn to laugh, and if you don’t like something, don’t watch.

God bless Apu, and we hope the rumors of your demise have been greatly exaggerated.