Category Archives: Hollywood

Conservative Hollywood Hooey?

Conservatism, Gender, Hollywood, Intelligence, Left-Liberalism And Progressivisim, Political Economy, Pop-Culture, Propaganda, The Zeitgeist

The “case that Hollywood is liberal” is hardly novel or new, National Review’s Jonah Goldberg observes about Ben Shapiro’s book “Primetime Propaganda.” I’m not even sure that getting “a whole bunch of liberal Hollywood muckety mucks to confess their very liberal agenda” serves to out these shameless idiots.

Does Shapiro get at the core of the problem?

One aspect is that, as I wrote, “Hollywood no longer offers entertainment. Instead, activism has replaced acting, and sermons have supplanted stories. Instead of a good yarn, you get a yawn.”

However, there’s more to it. Does Shapiro enunciate the fact that on a meta-level, Hollywood’s increasingly impoverished scripts, with few exceptions, have indeed created a parallel reality, one that is increasingly reflected in real life (say, in the workplace)?

*Gender junk: Woman is brawny, brainy, and beautiful; man is a buffoon. An 80-pound waif manages to wallop a 200-pound gangster with no punctures to the silicone sacks. Her hulking cop partner trots after Great Woman obediently, and is forced to endanger his life to compensate for her lack of physical prowess in police work, firefighting, etc. As in “The Killing,” normalized is the dysfunctional life of the anemic, morose midget of a female detective, while her decent male partner, who ought to be her boss, is cast as the out-of-place brute.

*Junk Science: Take your pick. The choice is endless, from the multiple personality disorder falsehood, to the global-warming canard and the root-causes-of-terrorism rot, to the “diseasing” of all aspects of evil.

Who can forget James Cameron, who having “worked extensively with robot submarines,” imagined he could help the film directors of BP to plug the oil plume? Cameron’s plan included that liquid metal robot from “Terminator 2: Judgment Day.”

*Good Government must always temper bad business.

*The canonization of kids and critters. In Hollywood’s case, America’s kids, who’ve never been dumber, are deified. The depiction of the natural world is a cartoon, festooned with errors and ignorance and plain delusions.

This Idiocracy was at work, I believe, in the film “Rio,” in which parrots, who resemble only humans and primates in their unique, brainy ability to manipulate objects with their adorable, human like digits—are depicted as having the claw-configuration of a common bird. Here my T. Cup is manipulating a toy block and reading Reisman’s Capitalism. (T. Cup has since grown his flight feathers and acquired 30 words, including sentences used in context, a feat Hollywood types would find hard to accomplish.)

Such was the ignorance of those who put this film together (and they call conservatives stupid?). Hollywood may mirror the cretinism of America at large, only many times amplified.

*General affirmation of slut and celebrity.

Alas, judging from their Bio information, too many Facebook friends who call themselves conservatives or libertarians profess to favoring movie and TV programing that does all of the above. Other than their penchant for FoxNews, the programing these Facebook friends favor and support is the most perverse of Hollywood programing (in terms of some of the parameters above).

My impression is that unless a protagonist is against G-d or for abortion, conservatives are culturally deaf to the piffle spewed by Hollywood pea brains. What’s more, conservatives are obsessed with Hollywood. If they were serious, they’d write Hollywood off—stop writing about these phony fools, begging them to grace their shows and panels, and simply withhold buying power by not purchasing/patronizing Hollywood’s crappy cultural products.

More later.

UPDATE II: Oscar Offal (Salutations From the Stutterers)

Art, Film, Hollywood, Pop-Culture, The Zeitgeist

If Kirk Douglas stole the show, you have got to know that there was not much to steal. So blared an MTV online headline describing the 2011 Academy Awards. (Headline here.) Previously, I watched the Grammys for you guys and came away with the conclusion that the winner was Auto-Tune, “the ‘holy grail of recording,’ that ‘corrects intonation problems in vocals or solo instruments in real time,” and without which the tartlets I watched ‘sing’ would have been even more inaudible and tuneless. (Here.)

The Oscar’s self-aggrandizing crowd proved too much for me. Stutterers are the cause célèbre (because of “The King’s Speech”). Helen Mirren, full of airs and graces, really does believe she’s a queen, and so does everyone else. When I see Mirren’s name paired with that of Simon Schama in the Financial Times, I ask myself what a well-known historian (and superb writer) like Schama is doing interviewing a woman who makes a living imitating other people? (Here) Shouldn’t she be interviewing him? I’m not in-sync with the times, I know.

The unfunny shtick, the specter of the poor, palsied Kirk Douglas spluttering incoherently while the pretentious onlookers cooed: You get the picture.

The last simply superb picture I watched was “The Secret In Their Eyes,” a film without loud-mouthed, humorless, self-referential Hollywood hedonists. It won the Oscar for Best Foreign Language Film at the 82nd Academy Awards. Naturally I will be on the lookout for more such gems in this category.

UPDATE I (Feb. 28): TRUE PUKE.
Mike D.: For me film is not really about striking the right ideological tone; it’s about weaving a yarn and avoiding that wagging ideological finger. I will not be lectured by pin-heads. I’d like them to weave a story that I have not figured out in the first 5 minutes.

I would never watch—much less wax fat about (as some libertarians have been doing)–“Atlas Shrugged” when placed in the hands of Hollywood. (I believe Dagny takes to green energy, or something along those lines.) And the snippet I saw of the “You Go Girl,” aka “True Grit,” was the standard emotional rubbish from Hollywood. Mike, you seem no longer able to even detect the abiding themes that ought to repulse you: young courageous girl sets lax, libertine, drunk adult on the right track and awes all with her moral certitude. They should provide vomitoria in the cinema for this kind of fare.

Such hackneyed, corrupting pabulum ought to repel the intelligent viewer. It’s Hollywood’s revival of the Noble Savage, only applied to kids; they are always the prescient sages; adults are the dolts needing the guidance and direction of babes barely out of diapers. Puke.

And if saintly, snotty-nosed kids are not enough, then you have “The Social Network”: fast talking, hubristic Millennials, making, if to go by Mike’s advisory, “profound” statements about the Culture of the Commons. Yeah, that’s just what I crave. Wisdom from Meghan McCain’s peers. Remember the dot.com kids to whom errant adults were praying, not so long ago?! Get a grip!

UPDATE II: Salutations From the Stutterers. A disease has been born. A new adversity to diagnose, medicate, write soppy stories and scripts about overcoming, launch campaigns for, and discuss, if you are lucky, while plonked on Oprah’s load-bearing couch.

Nullifying Brimelow’s Seminal Work On Unions?

Education, Film, Hollywood, Intelligence, Left-Liberalism And Progressivisim, Race

Steve Sailer has an interesting take on “the media-celebrated documentary ‘Waiting for ‘Superman,'” and by extension, on the “Public Enemy No. 1: Government Unions” (the title of my new, WND column). “Davis Guggenheim, white liberal dad, winner of an Oscar for the Al Gore documentary,” writes Sailer, “drives past three public schools in Venice every morning to get to a private school in Santa Monica. He muses on the narration that he felt he was ‘betraying the ideals I thought I lived by.'”

Why, then, doesn’t he send them to public school? Well, the obvious reason is because public schools in Venice are full of Hispanics and blacks (one of them is 95 percent Non-Asian Minority), and, privately, Guggenheim doesn’t think his kids will get as good an education in a classroom that has to cater to NAM needs. But, no way no how is he ever going to say that in public. He’d never get another Oscar.

[Read “Hoist By Their Own Petard In Wisconsin”]

Is Steve implying that the thesis of “The Worm in the Apple: How the Teacher Unions Are Destroying American Education,” a pathbreaking book by VDARE.COM editor Peter Brimelow, no longer obtains? In “The Worm,” Brimelow mounted a devastating case against the monopolistic nature of public education as the root of most of this system’s evils. He did so by analyzing “the efficiency of the education system, as expressed in its output and input.”

I would say that both the liberal director of “Waiting for Superman” and Steve Sailer are resorting to reductionism. There is more to the colossal failure of American schooling than the aggregate racial achievement gap in schools that are increasingly dominated by minorities. Conversely, government unions are not the whole story.

From my perspective, the film “Idiocracy” offered the most multifaceted treatment of creeping cretinism in America. The best of social science (kidding, of course).

Green Light For ‘Lights Out’

Debt, Economy, Family, Feminism, Gender, Hollywood, Pop-Culture

It has become ALMOST impossible to watch the assorted “estrogen-oozing” action dramas and crime series inflicted on the TV viewer. The phony heroine lords it over meek meterosexuals with fussy falsettos. Men know their place. Dare-devil women run the show, which makes the show dull, because 90 pounds of botoxic, silicone-plumped flesh in stilettos can’t run very fast (in real life, and I’m a sucker for reality). And you just know that back on terra firma, the 200 pounder she’s cuffing with seeming ease would have flung her as far as the equator, or coshed her to death.

A leading man is invariably a mentalist (I don’t know what that is), a gentle doctor suffering from low-sperm count, or a buffoon (“Burn Notice”).

“Lights Out” (http://www.fxnetworks.com/shows/originals/lightsout/index.php) is a good antidote to the above fare. However, it is a sad series, and the protagonist a tragic figure—“an aging former heavyweight boxing champion who struggles to find his identity and support his wife and three daughters after retiring from the ring,” played by Holt McCallany.

Last night, Lights’ typically spoiled wife (the Lovely Catherine McCormack from “Braveheart”) begins to understand the extent of the debt they have incurred, helped in no small part by her lavish lifestyle.

There is absolutely nothing wrong with voracious consumption just as long one pays for one’s purchases. The data demonstrate that Americans, in general, don’t. Of late, consumption has tended to reflect, not an increase in real wealth but an increase in indebtedness.

Aggregate household debt in the US has a lot to do with female expectations. Steve Sailer goes as far as to call this “The Estrogen Recession.” (I’m first and foremost the enemy of the Fed, fractional reserve banking, and regulation.)

In any event, from what I’ve seen, the average American woman’s existence is every bit as voracious as this fictional character’s. The evolution of the “Theresa Leary” character ought to be instructive.