This year’s Cannes Film Festival in France opened with a new Jim Jarmusch movie from Focus Features (owned by the reliably liberal NBC Universal) called The Dead Don’t Die, filled with in-your-face attacks on Republicans, conservatives, and people/states who vote for them. The plot is spurred by an environmental apocalypse caused by "polar fracking."



Hollywood’s hot new trend is to boycott the entire state of Georgia because Governor Brian Kemp signed a bill making it harder to kill unborn babies. Following her threatened boycott in March, one-time actress and full-time shrew Alyssa Milano had already convinced David Simon, creator of The Wire, to join the fad. Now there are few other big celebs getting in on the action.



Maybe GLAAD, Hollywood’s gay lobby, can find some satisfaction in the fact that through all their grandstanding, more gay representation has found its way into the film industry. Turns out, 2018 was one of the best years in the history of gya representation in movies, but as we all have come to expect, GLAAD’s never one to shut up. Yes, there was ample gay visibility, but what about transgender visibility?

 


Taking a play out of Kathy Griffin’s playbook, the latest Cannes Film Festival entry is all about insane feminism; feminism for whom true power lies only in decapitating President Donald Trump and holding his bloody head aloft. Geez, we get it. They hate Trump. But even the Hollyweirdos need to admit that this trope is a little tired.



If there’s one night to skip out on going to the movies, mark your calendar for July 31. That’s the night Kathy Griffin is unleashing her first ever movie theater experience complete with Q&A and an entire weekend’s worth of melodramatic material from her Trump Derangement Syndrome-inspired novella, “I, Victim.”



These are the times that try feminists’ souls. Pro-life laws in places like Alabama and Georgia threaten to produce an epidemic of live, healthy births in red states in the not-too-distant future. All good progressives must rally to the abortion uber alles flag. Now is not time to be seen as a summer sister or sunshine patriarchy smasher, not while famous comrades deprive themselves of cheap, non-union production labor or forswear carnal gratification.



Both DC and Marvel are hellbent on a new diversity initiative, looking to capture the hearts of a “global” audience. Maybe the comic book giants figure they’ve wrung as much money as they can from the straight, mostly white heros of DC’s Arrow and Marvel’s Avengers. A lesbian “Batwoman” is on the way from DC, and Marvel has confirmed that soon we will get our first gay crimefighter.

 


Irin Carmon, a former Washington Post contributor and fierce abortion supporter, found a novel angle from which to attack the urprise hit pro-life movie Unplanned, “A Hit Anti-Abortion Film Is Inspiring Real-World Harassment.” No, it isn’t -- and if it is, Carmon failed to present any evidence to support that headline under her story for New York magazine’s “Cut." Carmon relied on other left-wing journalists to make her case and to assure readers Johnson was lying



You know the power of imagination is one of the most important characteristics of the mind of a child. Just ask Don Cheadle about his ever-more involved fantasies about the death of President Donald Trump. They’re getting more creative. A couple of years ago he just wanted Trump to “die in a grease fire.” Now the actor is on record to say that he wished Trump could be killed off by Marvel supervillain Thanos and his infamous Infinity War “snap.



Phase II of the Marvel comic book cinematic universe is going to involve a few less of our classic superheros in favor of a bold new array of diverse and inclusive characters. Yes, Marvel’s going a lot more ethnic, and a lot more gay because what’s cooler than finding out that your new favorite Avenger enjoys his skintight latex suit for far more than just crime-fighting purposes?

 


The New York Times finally caught up with the surprise hit pro-life movie Unplanned on the front of Tuesday’s Arts section, “Anti-Abortion In Hollywood – The makers of Unplanned have a hit despite hurdles.” Reggie Ugwu reported from a screening under the headline “With Unplanned, Abortion Opponents Turn Toward Hollywood.” But the Times never even reviewed the movie, unlike the flood-the-zone coverage it provided to the documentary of pro-abortion liberal icon Ruth Bader Ginsburg, and found critics to rebut Unplanned's assertions.



A new Netflix offering, The Highwaymen, is the story of the murderous bank-robber duo Bonnie and Clyde, with a twist: The tale is told from the other side. It’s advertised as “the untold true story of the legendary detectives who brought down Bonnie and Clyde,” with the lawmen played by Kevin Costner and Woody Harrelson. It debuted on Netflix last week, and the film put New York Times movie critic A.O. Scott in a grumpy and sour mood – a disposition he projects upon the law-and-order audience he assumes is the movie’s audience. His review led off with moral preening and political disapproval.