"I'm sure it is, I'm not for any kind of war, we've been engaged in several wars since the second world war and we lost in Korea, we lost in Vietnam, they are political wars, they have nothing to do with any real threat, nor does this one"
About this Quote
Hagman’s voice here isn’t the polished anti-war manifesto of a career activist; it’s the blunt, exasperated clarity of someone watching the same play get staged with new costumes. The line tumbles forward in run-on logic because it’s meant to sound like ordinary talk, not doctrine. That casualness is the point: skepticism doesn’t have to arrive wearing a tweed jacket.
His most provocative move is calling Korea and Vietnam “lost,” then quickly narrowing the blame: “political wars.” In that phrasing, “political” isn’t neutral. It’s an accusation that the battlefield is secondary to the real arena: optics, careers, domestic narratives. He’s not arguing tactics; he’s rejecting the premise. If a war’s purpose is political maintenance, then sacrifice becomes bookkeeping.
The subtext is a distrust of manufactured necessity. “Nothing to do with any real threat” is doing heavy lifting: it implies a gap between what leaders say (“imminent danger”) and what citizens are asked to feel (“fear, duty, unity”). The final “nor does this one” is the dagger twist, yoking past conflicts to the present without naming it, inviting listeners to supply their own contemporary war and draw the parallel themselves.
Coming from an actor famous for playing power (and its slick self-justifications), the comment carries an extra edge: he’s spent a career performing the rhetoric of dominance. Here, he strips it down and calls it what it looks like from the cheap seats: repetition, spin, and young bodies used to settle old political accounts.
His most provocative move is calling Korea and Vietnam “lost,” then quickly narrowing the blame: “political wars.” In that phrasing, “political” isn’t neutral. It’s an accusation that the battlefield is secondary to the real arena: optics, careers, domestic narratives. He’s not arguing tactics; he’s rejecting the premise. If a war’s purpose is political maintenance, then sacrifice becomes bookkeeping.
The subtext is a distrust of manufactured necessity. “Nothing to do with any real threat” is doing heavy lifting: it implies a gap between what leaders say (“imminent danger”) and what citizens are asked to feel (“fear, duty, unity”). The final “nor does this one” is the dagger twist, yoking past conflicts to the present without naming it, inviting listeners to supply their own contemporary war and draw the parallel themselves.
Coming from an actor famous for playing power (and its slick self-justifications), the comment carries an extra edge: he’s spent a career performing the rhetoric of dominance. Here, he strips it down and calls it what it looks like from the cheap seats: repetition, spin, and young bodies used to settle old political accounts.
Quote Details
| Topic | War |
|---|---|
| Source | Help us find the source |
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