The Last Supper is a 1995 film directed by Stacy Title. It stars Cameron Diaz, Ron Eldard, Annabeth Gish, Jonathan Penner and Courtney B. Vance as five liberal graduate school students who invite a string of right-wing extremists whose political views they disagree with to dinner in order to murder them.
This is obviously a comedy and one that uses a long-established plot premise: the protagonist gets hooked on murdering obnoxious people. (Feel free to offer examples in the comments. Dexter comes immediately to mind for me.) This plot premise works because we the audience can empathize on some level with wanting to do away with all the people who make us angry. The plot creates a fantasy in which we get to harmlessly indulge our darker impulses. It is that fantasy of lashing out that makes these types of works attractive on an emotional level. In most works with this premise, the murderer kills people universally despised. Dexter kills murderers and who cannot empathize with that urge?
What makes The Last Supper so disturbing in the contemporary context is both murder victims, non-leftists, and the intended audience, leftists. It is clearly a leftist’s murder fantasy.
Wikipedia describes the victims:
The students lay down a procedure for each murder. The guest will be given every opportunity to change their mind and recant their beliefs. If the guests fail to change their ways by dessert, the group offers them poisoned white wine from a blue decanter and raises a toast. The bodies are buried in the group’s vegetable garden. Guests include a homophobic reverend (played by Charles Durning), a misogynistic chauvinist (played by Mark Harmon), a Neo-Nazi (played by Rick Lawrence), an anti-environmentalist (played by Jason Alexander), a Pro-life extremist (played by Rachel Chagall), a book censorship advocate (played by Pamela Gien), a hobo assailant (played by Nicholas Sadler), and opponents of gay rights, all of whom are murdered. After ten murders, misgivings begin to surface within the group as a couple of them grow indecisive regarding the justification of their actions. Infighting and guilt compel Jude, Pete, Marc, and Paulie, in an almost unanimous decision with only the dissent of Luke, to spare a teenage opponent of mandatory sex education (Bryn Erin).
The author expects the audience to empathize with the murderers who get to live out the audience’s fantasy of lashing out at non-leftists. (I think it rather clear that the actual characters of the murder victims each represent a group or class of political opponents.) The premise isn’t even funny if you don’t share the leftists’ view of the groups represented.
Some of the characters clearly don’t even represent real groups or viewpoints of any significance. The review describes one character as:
This young man, a patriotic Desert Storm vet, first startles the group when he insists on saying grace before the vegan meal and then goes on to praise Hitler, alarming and repulsing the other dinners.
That’s not the description of a real political demographic in America. The number of ex-military, devout Christians who think Hitler was on to something numbers in the hundreds at most. Such people have zero effect on political issues at any level. Why would the author include such an unrealistic character? Because in the fantasy narrative of the left, there are a lot of such individuals on the right and they are politically influential.
All serious leftists are arrogant narcissists completely convinced of their own moral rectitude and intellectual infallibility. As such, anyone who disagrees with a leftist must do so out of evil motives. Since the wonderfulness of the hero is inversely proportional to the evil of the villain, the leftists instantly conclude that their opponents on the right must be the ultimate evil of Nazis. So, not only is the movie/play a leftist murder fantasy but it is a fantasy about murdering people who only exist in the self-flattering fantasy world of leftists. The work not only lets leftists lash out, it also lets them lash out at their imaginary opponents.
Of course it goes without saying that the left would howl with outrage if the exact same concept was used in a play except that the political beliefs of murders and victims were reversed. The left continuously decries supposed “hate speech” on the right while ignoring the vomiting geyser of hatred that is the normal mode of discourse on the left.