"What was the reason for invading Iraq' Was it a humanitarian crusade or an economic one' I would be inclined to say the latter. It was the same with the Civil War, because the landed gentry's money was being stolen by the king"
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Scott’s line lands less like a polished argument than like a provocation from a citizen who happens to be famous. That’s the point: it’s built to puncture the official stories that launder power into virtue. By posing “humanitarian crusade or an economic one?” he sets up a binary that’s emotionally legible to a broad audience, then snaps it shut with “I would be inclined to say the latter.” The phrasing is almost casual, which makes the accusation feel more candid than performative, a pub-table conclusion delivered with celebrity reach.
The subtext is suspicion of moral alibis. “Humanitarian” becomes a costume states wear when they want the public to stop asking about oil, contracts, and influence. Scott’s move is to treat Iraq not as an exceptional tragedy but as part of a recurring pattern: elites justify violence with ideals while pursuing material interests. That repetition is what gives the quote its bite; it invites listeners to connect dots across centuries and assume the same engine is always running.
The Civil War comparison is messy but revealing. By reaching for “landed gentry” and a king “stealing” money, he’s not doing textbook history; he’s doing cultural critique, translating conflict into a class story about who pays and who profits. The intent isn’t precision so much as reframing: wars, in this view, are economic disputes with a moral press release attached. Coming from an actor, the meta-irony is unavoidable: he’s calling out the state’s scriptwriting, insisting the audience read past the dialogue to the budget.
The subtext is suspicion of moral alibis. “Humanitarian” becomes a costume states wear when they want the public to stop asking about oil, contracts, and influence. Scott’s move is to treat Iraq not as an exceptional tragedy but as part of a recurring pattern: elites justify violence with ideals while pursuing material interests. That repetition is what gives the quote its bite; it invites listeners to connect dots across centuries and assume the same engine is always running.
The Civil War comparison is messy but revealing. By reaching for “landed gentry” and a king “stealing” money, he’s not doing textbook history; he’s doing cultural critique, translating conflict into a class story about who pays and who profits. The intent isn’t precision so much as reframing: wars, in this view, are economic disputes with a moral press release attached. Coming from an actor, the meta-irony is unavoidable: he’s calling out the state’s scriptwriting, insisting the audience read past the dialogue to the budget.
Quote Details
| Topic | War |
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