Category Archives: Celebrity

UPDATED: Every Day An Outrage (More Megyn OMGs)

Celebrity, Critique, Feminism, Iran, Journalism, Media

The Kelly File, for which I had high hopes as a news broadcast, has disintegrated into a rah-rah, flag-waving, hour-long session. Each segment features some sort of outrage against:

US deserved status in the world
US flag stateside
US soldier

The current outrage on Kelly is over Iran’s new UN ambassador. It’s news only the first time reported. Otherwise, these items are meant to heighten emotions and send hissing viewers to social media to create a buzz.

UPDATE (4/3): Mygyn’s OMG segment today had to do with “Tolerant Feminists Tell[ing] Conservative Young Woman: We Don’t Want You Here.” Yawn. A tolerant feminist is a contradiction in terms.

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UPDATE IV: Latest Anti-Man Moaning From Menstruation Lobby (‘The Americans’)

Capitalism, Celebrity, Feminism, Film, Gender, Government, Hollywood, Political Correctness

Just for a change, the menstruation lobby is moaning about the movies and its members’ representation therein: “The latest study on women in front of the camera finds that female characters are still significantly under-represented on the big screen. … The numbers for minority females are even lower. African-American female representation on screen climbed to 14%, from 8% in 2011, but down from 15% in 2012.”

Despite the same lobby’s attempt to ban the word, we women are “bossy.”

I control the remote in the house. My husband, however, is happy to allow it, because we like viewing the same things—except that he is more patient and prone to watch foolish female heroes strut their stuff in stilettos and plunging cleavages while chasing the bad guys. He’s been softened. He believes the schtick.

Other than “Olivia” in “Law and Order”—she’s the only believable woman in a tough-cop routine—I can’t watch females as action heroes because it doesn’t make sense. I’m way too wedded to reality to find women believable in these roles.

As for the presence of minorities in movies: it usually signals a two-hour long, oppressive racial lecture. And “I’m no more inclined to turn to ’12 Years A Slave’ for entertainment, than I am to subject myself to Oprah Winfrey and her M.O.P.E. (Most Oppressed Person Ever) ‘Butler.’”

Maybe other viewers are on to this and agree, because it is quite clear that Hollywood is giving viewers what they want to see: men in lead roles. If film executives listened to loathsome Lena Dunham, instead of to the demands of consumers—the industry would go bankrupt.

In any event, Sean and I both like the Metal and Military Channels, “Investigation Discovery” for the gory real-life murder cases, “Law and Order” (Olivia’s awesome), “The Following,” “Criminal Minds” (the horror compensates for the hens), “Justified,” and, I know the category is wrong, but the Oscars belongs to ….

The Americans.

It is simply superb; TV at its best: no politics, surprisingly, no mega movie stars (who usually can’t act); real foreigners playing foreigners (no fake foreign accent, courtesy of Angelina Jolie), and a great script.

Enjoy tonight’s episode.

UPDATE I (3/13): The Following” is ad hoc, make-it-up-as-you-go garbage. But it’s done well-enough to entertain.

UPDATE II: “THE AMERICANS.” The script and story are so good in The Americans, that you don’t root for a political side—the story is remarkably apolitical, given how political is should be, the halmark of good storytelling—you simply get absorbed in the plot. It’s a great spook story. That’s the experience the movies should deliver. Good narrative, good acting, no wagging finger. However, it is pro-American in the subtle, good, non-rah-rah way, as it shows how the couple is living the life while going through the spook motions. It is wonderful TV.

UPDATE III: The script and story are so good in “The Americans,” that you don’t root for a political side—the story is remarkably apolitical, given how political is should be, the hallmark of good storytelling—you simply get absorbed in the plot. It’s a great spook story. That’s the experience the movies should deliver. Good narrative, good acting, no wagging finger. However, it is pro-American in the subtle, good, non rah-rah way, as it shows how the couple is living The Life while going through the spook motions. It is wonderful TV.

House of Cards: I do not like a lecture: not from the Right, the Left, or from the libertarians (my crowd). And I do not watch any program about politicians, CIA, FBI, NSA. I want to excise these cancers from my life.

UPDATE IV: Some seek an ideology in a story, I seek a good narrative. Not sure what it is about my explanation on Facebook that Friends have failed to get about excising all gov. from my life. CIA, FBI, NSA, D.C.: “Good” or bad, it’s all bad, because it should be abolished. I don’t watch it for “fun.” I write about it.

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UPDATED: Hollywood: The No-Good, The Bad & The Beastly

Celebrity, China, Film, Hollywood, Human Accomplishment, Intelligence, Sex, Technology

“Hollywood: The No-Good, The Bad & The Beastly” is the current column, now on WND. An excerpt:

“Glenn Close’s remarks, In Memoriam, at the 86th Academy Awards ceremony, captured the delusions of grandeur held by the “tarts and tards of Hollywood,” and helped by their fans.

The actress (or is it “actor”?) did not thank the dearly departed for merely entertaining the masses, which is all actors and directors are capable of doing. Oh no. Her deities were, instead, acknowledged for “mentoring us, challenging us, elevating us”; “they made us want to be better, and gave us a greater understanding of the human condition and the human heart,” language that should be reserved for the likes of Ayn Rand and Aristotle.

Where a motion picture has indeed transported anyone—it is because it cleaved to a decent script, usually a good book. “Gone With the Wind,” “Doctor Zhivago,” “Midnight Express,” and “Papillon,” are examples.

Still, Hollywood is quite capable of reducing great literature to schmaltzy jingles, belted out by shrill starlets. This was the fate of “Les Misérables,” last year. Lost in the din were a lot of lessons about “the human condition.” The Victor-Hugo masterpiece I read as a kid was about France’s unfathomably cruel and unjust penal system, and the prototypical obedient functionary who worked a lifetime to enforce the system’s depredations—a lot like the powers that hounded Aaron Swartz, the co-founder of, to death, in 2013, and are intent on doing the same to the heroic Edward Snowden.

The dead were deified, but what of the walking dead?

To the Chinese, who appreciate the value of experience, the greater the ratio in a team of “grey hairs and no-hairs” to “black hairs”—the faster and better a task will be completed. The opposite assumption obtains in the youth-obsessed U.S.

On the old, Hollywood performs professional geronticide.

Aging actors are put out to pasture, retired into buffoonish, badly scripted roles (“Nebraska”). The annual Oscar Awards will see at least one old actor trotted out (in 2011, the “distinction” went to Kirk Douglas) from retirement. From the sympathetic thunder clap received by Harrison Ford, 71, this year, I’d say he’s ready to be retired.

Yes, a silly society is a youth-obsessed society. Duly, a precocious kid actor will typically cameo. This year, viewers were spared the spectacle. Tykes did, however, twerk and twirl with the adults in a Pharrell Williams routine, conjuring the current crop of Walt Disney cartoon characters (“Rio 1″). Once-upon-a-time, our beloved cartoons were cute, innocent and mischievous. Think Disney’s Donald Duck, Warner Brothers’ Bugs-Bunny and Amblimation’s Fievel of “An American Tail” fame.

Alas, like The Kids, the animated characters that festoon film nowadays sound and act as if created by another Victor (Frankenstein), combining pixelated bits of the putrefying Bethenny Frankel, and some “Mob Wives,” “Real Housewives,” and “Dance Moms,” for good measure. …

Read on. The complete column is “Hollywood: The No-Good, The Bad & The Beastly”now on WND.


At the WND Comments Section. Scroll down and “Say it.”

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* For his help, I thank my young friend, movie maven Kerry Crowel.

UPDATED (3/7): Anyone who praises the Titanic idiocy as a “classic” is lacking critical faculties (see Facebook thread). The scenes of the ship going down are fun and well done. But as to the “story”: It includes the use of “Freudian slip,” before the term was known, among other Americanized inaccuracies, and the upstairs-downstairs dynamic and proletarian insurrection: Whence does that rot come? But then, if you read the comments @ WND Comments (…/hollywood-the-no-good-the-bad-and…/), you get that our readers are more comfortable with Bill O’Reilly’s “output” or that of Maureen Dowd at the NYT.

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Oscar Pistorius Believable

Celebrity, Crime, South-Africa

Blade Runner Oscar Leonard Carl Pistorius is no Afrikaner “everyman,” wrote activist Dan Roodt, who is such a man. Even so—and for all his privilege—Pistorius knew the rapacity and invincibility of the criminal class in his country, South Africa. Like every other Afrikaner, he knew the fate that would befall a legless Boer at the hands of an infiltrating criminal gang.

I believe Oscar Pistorius, who went on trial today, in South Africa, is stupid, irresponsible; an example of a bad gun-owner. But I do not believe he purposefully “murdered Reeva Steenkamp after a domestic row,” as the state will endeavor to show.

“Oscar Pistorius, 27, says he killed Ms Steenkamp by mistake thinking she was a dangerous intruder.”

“The incontinent gushing over Pistorius has given way to condemnation. Paranoid about security is how the athlete’s “obligingly stupid” journo friends are now labeling him. They had only ever jetted in from low-crime or no-crime countries for an interview.” (“Blade Runner Killing And The Media Blackout”)

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Late Night Loser

Celebrity, Gender, Media, Pop-Culture

As you enjoy the musings of Kerry Crowel, do consider a one-time contribution or a regular monthly contribution to Barely A Blog, where we nurture like-minded young talent. (The PayPal buttons are to your right). Posting pieces by new writers means editorial WORK for yours truly. Show your love.

Late Night Loser
By Kerry Crowel

Sadly, late night talker Jimmy Fallon is the perfect specimen of modern Western man: emasculated, silly and willing to break into an embarrassing jig at a moment’s notice.

Since his Tonight-Show takeover, in Feb., this year, Fallon has stuck to the script with his ultra-safe and unfunny monologues; has danced his way through the history of Hip-Hop “music,” and, as if further proof of his buffoonery was needed, waged a lip-sync battle with actor Paul Rudd, covering Tina Turner, Queen and Foreigner.

Apparently this is high humor! Cutting-edge stuff.

But really, what would you expect from the guy who secured his spot as a Saturday Night Live cast member with an impersonation of his idol Adam Sandler? Yes, the same stupid Adam Sandler who at one time commanded $20 million a picture. The same Adam Sandler whose success is not a testimony to his talent, but rather an indictment of society.

Grimacing and making goofy sounds will get you far in show business.

Western culture was dealt a blow in the fifties when kids everywhere were exposed to that lunatic in war paint, Little Richard. How we went from the subtle charm of The Glenn Miller Orchestra to the tribal screams of “Wop bop a loo bop a lop bam boom” is one for the ages.

Soon, the supposed enforcer of past oppressions, the most evil entity to walk the planet, the dreaded white man, most often of the W.A.S.P persuasion, had to atone. When livelihoods are at stake and, more importantly to some, the threat of being labeled an old-fashioned outcast—artistic principles tend to crumble. For proof, all one has to do is tune into a red-carpet event, where, for a living, grown men, giddy as schoolgirls, quiz J-Lo or some other Low, as to which designer she’s wearing .

Perhaps I should clarify my opening statement. Jimmy Fallon represents perfectly the prototypical man of the West whom media like to promote. Nonthreatening, neutered, eager to please all people, and obsequious—as if to acknowledge, if not by his words then by actions, his own deficient coolness quotient (which explains the all-black band, the Legendary Roots Crew).

Like his predecessor, and, hopefully, his replacement Jay Leno, the presence of an all-black band gives the show, in Jay’s own words, a “more urban feel,” never mind that a typical Tonight Show audience is whiter than a farmer’s market in Vermont.

As when a new James Bond movie is released, any talk of The Tonight Show will ultimately revert back to reminiscing about past glories. Over the last twenty years, baby boomers, the most self-important generation ever, have elevated Johnny Carson to near-deity status. Exhibiting no sign of real talent, Carson was nothing more than a failed magician, who morphed into a late-night court jester, often donning drag as Aunt Blabby, and on more than one occasion taking a pie in the face. So, when you think about it, Fallon fits the mold perfectly.

I’m sure he’ll make it in spite of himself; he knows all the right people, kisses all the right rings and says all the right things, which is nothing much at all.

That’s entertainment!


Kerry Crowel is as of yet an unsigned screenwriter with an interest in political and social satire. And will probably get a guest spot on the Tonight Show.

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Tomfool Fallon Providing Bread, Circuses & Propaganda For Booboisie

Barack Obama, Celebrity, Healthcare, Propaganda

I now better understand why MSNBC fired Jay Leno. Yes, they likely wanted to replace political satire with a vaudeville of giggles, goofiness, mind-numbing banter and G-d-awful music. But, with bread and circuses for booboisie comes the “responsibility” of propagandizing the same population.

As if on cue, last night, Tomfool Fallon brought up the Affordable Health Care Act with Michelle Obama, who launched into a promo schtick for this juggernaut of a law.

One minute and fifty nine seconds into this segment, fuckface Fallon segues into a Zero Care promotional segment. The dumb dweeb started it. For shame!

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