Behind the artsy façade, a community of media radicals
Broadway’s Tony Awards ceremony set for telecast on CBS this weekend won’t offer news that the world needs to know about, but it will slant the arts according to the CBS network’s function as a political entity.
Recent award shows often turn into agitprop, which may explain why CBS airs so many of them. It’s a perfectly unholy alliance of partisan news media with partisan cultural institutions. The Tonys, a showcase for New York’s middle-class theater scene, allows broadcast media to pretend they’re witness to an impartial event. But when it comes to liberal New York theater, left-wing bias is already built into the process. By broadcasting the Tony Awards, CBS perpetuates the Diversity, Inclusion, Equity (DIE) agenda already evident throughout the network’s other news and entertainment programming.
This devious objective was made apparent in the May 30, 2025, CBS website article: “These Tony Award nominees highlight many firsts for Broadway’s biggest night.” Heralding “firsts” has become the journalistic convention for reporting on diversity, constantly viewing the world in terms of tribal differences. It’s actually a contradiction of DIE precepts. Ironically, such “news” is not determined by merit; it goes against the very idea of Tony awards honoring equal-level achievement.
Each subject in the CBSnews.com piece was characterized in segregated terms. Daniel Dae Kim was cited as “the first Asian nominee in the Tony category of Best Performance by a Leading Actor in a Play for his work in Yellow Face.” Kara Young, from the play Purpose, is described as “the first Black person nominated four straight times in any category, including this year for Best Featured Actress in a Play.” Tala Ashe and Marjan Neshat, both from the play English, are mentioned as “the first Middle Eastern actors to ever be nominated” in the Best Featured Actress category. Cole Escola, the star and creator of Oh, Mary!, is noted for being “the first non-binary nominee for Best Play and Best Leading Actor in a Play.”
CBS reduces all these artists to the status of political token — a demeaning political status.
What Broadway habitués praise as the “the theater community” actually is a group of eccentrics sharing the same radical ideology based on social identity, primarily sexual and racial. The same judgment is evident in the subject matter of stage productions that receive recognition from the American Theater Wing, the organization that administers the Antoinette (“Tony”) Perry Awards. The Tony Awards broadcast gives the rest of America a look at this coterie. For New York’s largely communist, sexual special-interest-group representatives, Broadway is both a proving ground and a home. It’s a place for people whom Patti Lupone, a multiple Tony Award winner, described as “those who feel they don’t belong anywhere else.” (Lupone’s obstreperous personality has currently embroiled her in the embarrassing Broadway hypocrisy since the 2018 Tony ceremony in which Robert De Niro got a standing ovation for cussing about President Trump: A social media cat fight between Lupone, Audra McDonald, and Kecia Lewis dissolved into class-based, racialized accusations among the divas, making the far-left Broadway community’s purge mentality a public spectacle.) In other words, the Tonys are where Broadway libtards go to vent their vitriol and insularity.
Overtly leftist Broadway operates on the same ideological consensus as the CBS network, so there’s an unignorable political component to all the nominated shows, from Good Night and Good Luck to John Proctor Is the Villain, Maybe Happy Ending, and Oh, Mary! New York’s Broadway theater and media environs have become thoroughly politicized in both their content and operation. The Tony Awards are another aspect of New York cultural-political life that goes largely unspoken — at least until events like the Tonys force that ugly recognition on the national consciousness.
Given the city’s prominence as the hub of national media, the Tonys are not simply a local event but one of the means by which CBS appropriates entertainment awards shows (primarily music-industry ceremonies) as a way of baiting viewers and imposing left-liberal groupthink on the public. (The political treachery of CBS is a subject for further study.)
This makes the Tonys a double whammy: Showbiz radicals promote their racial, feminist, ableist, transmania ideology via a news network that has jettisoned impartiality to promote an avowedly left, liberal perspective as “normal.”
Broadway patrons who naïvely support New York’s most expensive tourist trap should beware of the Tonys as a form of social-justice indoctrination. This is the typical media method of instantly rewriting history by specifying “firsts” based on the media’s own race and gender biases. Kara Young, a four-time Tony nominee, told CBSnews.com, “The world is being forced to believe that we should be divided, and we’re doing art and that’s what brings people together.” Not at the Tonys, yet that’s how the communards at CBS brainwash themselves.