After more than three weeks, Markos Moulitsas’s fury over the election result remains piping hot, so the Daily Kos founder and publisher served it up on Wednesday. “If I was a Jedi Knight, I’d be a Sith Lord today, because I feel the hatred flowing through me,” acknowledged Kos. “But contrary to Star Wars lore, I’ve decided it’s not a bad thing…One only has to look at the GOP to see how unbridled hatred served them well over the last eight years. The American electorate doesn’t reward temperance, prudence, and ‘going high.’ Quite the opposite, in fact…But, I [don't] feel that I can’t move forward without laying out all the things I’m angry at.” Kos’s targets included Hillary Clinton and her campaign bigwigs (whose “rank incompetence” cost them what should have been an “easy” win) and “the dumbfucks who voted for Trump.”
After more than three weeks since Democratic candidate Hillary Clinton lost the presidential election on November 8, the liberals in the entertainment industry still have not accepted the fact that Republican Donald Trump won the contest, and they use every chance they get to slam the president-elect.
One such incident was the Gotham Awards, which are held every year on the Monday after Thanksgiving in New York City, when actor Ethan Hawke stated: “Whenever faced with fascism, the artistic community generally rises to the occasion.”
In an article for The Daily Beast on Friday, entertainment writer Matt Wilstein eagerly touted the newly released film Miss Sloane as the latest barrage in Hollywood’s crusade against gun rights. He promoted how the political thriller “focuses on a battle-hardened female lobbyist who gives herself the Herculean challenge of taking on the gun lobby."
It has been more than five weeks since The Promise debuted at the Toronto Film Festival, but the independently financed historical romance has yet to secure a distributor. Producer Eric Esrailian believes the reason is Turkey’s strong genocide denialist lobby.
Another gushy movie about President Obama will surface a month after the election. The Root reported that Netflix will be releasing an original movie, Barry, documenting Obama’s early college years. The teaser trailed released Thursday featured a brazenly inspirational message that read, “Before he gave hope, before he created change, before he made us believe ‘we can,’ he was Barry.” This gushy movie probably doesn’t resemble anything like the 2006 movie portraying the fictional assassination of George Bush, Death of a President.
The New York Times can’t stop slobbering over 13th, a Black Lives Matter-style documentary by activist Ava DuVernay that takes a conspiratorial left-wing view equating prison labor as black slavery. Hard-left controversialist Van Jones and Castro-loving Communist Angela Davis feature in the flick, though NYT’s Cara Buckley doesn’t bring those names up in her press-release style laudatory interview with DuVernay for Thursday’s Arts section. She simply provided more glowing publicity in the ridiculously headlined “Examining Modern Slavery In America.”
The front of Friday’s New York Times Arts section featured the paper’s politically correct movie critic Manohla Dargis, “From Shackles to Prison Bars,” a review of activist filmmaker Ava DuVernay’s documentary “13TH.” It’s no surprise that left-wing Black Lives Matter propaganda moved her to tears: Dargis is preoccupied with race, valuing racial bean-counting in movies over artistic excellence and even suggesting the federal government may have to step in to even things out.
The New York Times humorless, bean-counting movie critics Manohla Dargis and A.O. Scott surveyed the fall film season under this pair of judgmental headlines: “Hollywood, Separate and Unequal – The history of American film is the history of American racism.” Dargis and Scott have a regular tag-team movie-ruining-gig: In March they focused their judgmental Oscar coverage on racism and reveled in “Watching a White Academy Squirm.” In the summer of 2015 they indulged in joyless feminist politics. Dargis, a movie critic supposedly concerned about aesthetics over all, is even prepared to deny artistic achievement in the name of racial and gender bean-counting. The text box is ominous: “Insisting on the sanctity of art can just be another way of shutting our eyes and denying ugly systemic realities.”
Appearing on Tuesday’s NBC Today, actor Joseph Gordon-Levitt gushed over playing NSA leaker Edward Snowden in a new movie and even compared the fugitive former intelligence analyst to a civil rights icon: “...he did break the law and he admits that he broke the law, but then there’s examples of people who break the law who aren’t necessarily doing the wrong thing. Like one example I thought of is Rosa Parks.”
Remember #OscarsSoWhite? Apparently, they still are. The Oscars’ racial makeup controversy lives on as the Academy continues its valiant quest for more racial diversity while ignoring any sort of ideological diversity. In an interview with The Hollywood Reporter on September 10, Cheryl Boone Isaacs, president of the Academy of Motion Picture Arts and Sciences, discussed the Academy’s A2020 plan. Revealed in 2015, A2020 is “a five-year plan to study practices at the Academy with the aim of improving the diversity of its own staff and governance while also bringing new voices into the organization. It is also intended to encourage and to push the industry to examine its hiring practices and to begin to make changes.” And by “new voices,” they mean new skin colors.
During an interview with actress Tika Sumpter in 9 a.m. ET hour of Monday’s NBC Today about her role in a new biopic about the first date of Barack and Michelle Obama, co-host Al Roker eagerly wondered if the First Couple had seen the movie yet: “Have you heard at all from the Obamas?” Sumpter replied: “We haven't, not yet. I mean, I know they know about it."
The Washington Post is unsurprisingly in love with the new Obama-puffing film about Barack and Michelle’s first date. Movie critic Ann Hornaday won the prize for the biggest gush, comparing Obama to young Abe Lincoln.