The following is from “The Tarts and “Tards” of Hollywood,” my latest column:
“…Hollywood had its Golden Age, back when well-written scripts reflected well-developed, multifaceted characters. Today, Tinseltown is a monolithic, left-liberal automaton, marching in thematic unison, and subjecting the viewer to the same impoverished, error-riddled, preachy themes.
The evidence is in. Activism and abreaction have replaced acting, and sermons have supplanted stories in the repertoire of the pretty, pea-brained community.
A giant digit wagging above a captive audience: that’s Hollywood.
The conservative-minded masochist comes to the cinema fully prepared to confront and forfeit his “fascist” sympathies. For example, in the 2008 flick “Conspiracy,” the battle is between the forces of absolute evil and pure good, in the border state of another “evil” governor.
Representing the open-border sensibility is Val Kilmer, a superhuman, super-good, Iraq war veteran. Standing in for the border-control, stark-raving crazies is an all-American, Arian, gang of war-profiteering developers.
Yet, in book-after-book, the “conservative” case against Hollywood consists, mainly, in reiterating the facts of this faction’s liberalism. Unless a protagonist is against G-d or for abortion, conservatives are culturally deaf to the piffle spewed by the pea-brained community.
What do I mean?
On a meta-level, Hollywood’s “angels and demons” productions have helped create a parallel universe willingly inhabited by our countrymen, conservative and liberal alike.
Consider the gender junk percepts. Did not the commentariat, conservatives and liberals, come together over Sen. Rick Santorum’s so-called archaic ideas on women in the fighting force? …”
Read the complete column, “The Tarts and “Tards” of Hollywood.”
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