Note: This article may contain commentary reflecting the author's opinion.

On Thursday, January 26th Hulu is set to premiere ‘The 1619 Project’ a six-part “limited docuseries” that expands upon “The 1619 Project” produced by Nikole Hannah-Jones for The New York Times in 2019.

The New York Times called the ‘1619 Project’ “an ongoing initiative from The New York Times Magazine that began in August 2019, the 400th anniversary of the beginning of American slavery. It aims to reframe the country’s history by placing the consequences of slavery and the contributions of black Americans at the very center of our national narrative.” However, it proved to be a radically divisive work of historical propaganda that made dozens of patently false claims and was thoroughly debunked across the subsequent four years by sources ranging the political spectrum from The National Review to Reason, and The Washington Examiner to even Politico.

The project caused such national discord that it even led the Trump administration at the former President’s instruction to produce a report to counter its false claims with historical data known as “The 1776 Report.”

Phillip W. Magness writing in May 2022 for Reason wrote: “The 1619 Project Unrepentantly Pushes Junk History.” In it, he explains that “The 1619 Project’s original aim of displacing the ‘mythology’ of 1776 ‘to reframe the country’s history, understanding 1619 as our true founding.’ This passage was quietly deleted from The New York Times‘ website in early 2020 just as the embattled journalistic venture was making a bid for a Pulitzer Prize.” Magness goes on in his work to describe numerous and egregious “Uncorrected Errors” throughout the 1619 Project.

Prior to the release according to The Washington Examiner, Hannah-Jones has continued to proffer the work as being factual, even suggesting it should be viewed in schools.

In a letter to the editor of New York Magazine, cited by the Examiner, five historians advised, “These errors, which concern major events, cannot be described as interpretation or ‘framing.’ They are matters of verifiable fact, which are the foundation of both honest scholarship and honest journalism.”

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She told Good Morning America’s Robin Roberts “This is the American story,” she claimed. “We’ve tried to segregate these histories — there’s black history and then there’s American history. But you can’t understand America if you don’t understand the role of black Americans, the role of slavery, the role of racism.”


George Leef writing for National Review said, “The 1619 Project isn’t serious history. It’s a serious attempt at mind control.” He noted that George Mason University economics professor Don Boudreaux offered a devastating blow to the narrative from the project that surrounds President John Adams and first lady Abigail Adams and their views on slavery, which they both openly abhorred. Bordeaux wrote that the 1619 project has been “thoroughlyrepeatedlyunambiguously, and fully debunked,” with links to the receipts.

Most damning though was one of the earliest criticism of the “1619 Project” that occurred before it even saw the light of day, as Leslie M. Harris tells in Politico, “I Helped Fact-Check the 1619 Project. The Times Ignored Me.”

She wrote, “On August 19 of last year I listened in stunned silence as Nikole Hannah-Jones, a reporter for the New York Times, repeated an idea that I had vigorously argued against with her fact-checker: that the patriots fought the American Revolution in large part to preserve slavery in North America.”

Harris even lamented that the gross inaccuracies stole away an opportunity to present a more nuanced view of American history with an emphasis on the black experience. She wrote, “Overall, the 1619 Project is a much-needed corrective to the blindly celebratory histories that once dominated our understanding of the past—histories that wrongly suggested racism and slavery were not a central part of U.S. history. I was concerned that critics would use the overstated claim to discredit the entire undertaking. So far, that’s exactly what has happened.”

In the 45-page 1776 report, the commission members wrote,

“By turning to bitterness and judgment, distorted histories of those like Howard Zinn or the journalists behind the ‘1619 Project’ have prevented their students from learning to think inductively with a rich repository of cultural, historical, and literary referents. Such works do not respect their students’ independence as young thinkers trying to grapple with social complexity while forming their empirical judgments about it. They disdain today’s students, just as they doubt the humanity, goodness, or benevolence in America’s greatest historical figures. They see only weaknesses and failures, teaching students truth is an illusion, that hypocrisy is everywhere, and that power is all that matters.”

The prominent and unfortunate role that war, conquest, racism, bigotry, and slavery all took in American history is undeniable, and for any sober reader of history: obvious. But what the ‘1619 Project’ suggests through its fictional narrative lens, is that to love our nation, despite its flaws, is to either love those flaws or to be willfully blind to them. This is the logical fallacy the entire work is permeated by.

On Thursday, this work will premiere to worldwide audiences, produced by a Disney company and hosted by Nikole Hannah-Jones herself who, according to the U.S. Sun, enjoyed a net worth of around $3 million as of 2021. According to The Daily Wire, she made over $1.2 million last year in college speeches about inequality alone condemning America as “one of the most unequal societies in the history of the world.” In the U.S. ‘The 1619 Project’ will be carried on Hulu and will appear on Disney+ abroad.

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