Hollywood actress Jennifer Garner applauded President Barack Obama for already committing $500 million to federally funded education programs for "toddlers" but argued that it is "not enough."
Acclaimed playwright David Mamet is featured in the New York Times Sunday magazine’s "Talk" feature (formerly "Q&A") on the eve of the publication of "The Secret Knowledge," his dramatic intellectual break with the political left.
Early reviews suggest Mamet’s message is bracing, and the left has responded in kind with vicious cries of sellout. Perhaps that’s why Andrew Goldman’s Q&A with Mamet is testier than his previous interviews (he replaced the liberal Deborah Solomon in the magazine’s Q&A slot in March). Even the subhead was slanted and hostile: "David Mamet explains his intellectual shift to the right. The far right."
The notion that conservative political views can stunt one's acting career in ultra-liberal Hollywood is occasionally derided as exaggeration at best, or conspiracy-mongering at worst. So it behooves us to point out the actual victims of this sort of McCarthyite blacklisting.
The latest person to provoke the wrath of Hollywood's thought police - or at least to reveal the consequences of that wrath - is former "Everybody Loves Raymond" star Patricia Heaton. Heaton claims that she has been denied roles precisely - and explicitly - because she is "lumped together with conservatives," according to PopEater.com.
In the 10AM ET hour on NBC's Today on Monday, co-host Kathie Lee Gifford applauded the new HBO movie on the 2008 financial crisis, 'Too Big to Fail,' as "not a partisan film at all." However, after asserting that "It didn't take one side or the other," she touted the liberal moral of the story: "that greed is what got us there and lack of regulation."
Left-wing actor Ed Asner, who plays the role of billionaire Warren Buffet, came on to promote the film: "...this movie is practically a study course. You go back and learn each time that you watch it....you become involved and very informed..." He added that the "tragedy" of the crisis "has not been repaired yet." Gifford agreed: "No, it certainly hasn't. Everything's still in place for it to happen again."
New York Times movie critics Manohla Dargis and A. O. Scott spray the new crop of summer flicks with a dose of liberal guilt in Sunday’s “Gosh, Sweetie, That’s a Big Gun.” Dargis in particular just can’t be pleased with how women are portrayed by Hollywood. Three years ago she greeted the summer season with "Is There a Real Woman in This Multiplex?” On Sunday she lamented that the women on screen today are the wrong kind of women, criticizing a scene from "Meek's Cutoff" in embarrassing feminist/Freudian academic language, circa 1968: "I just don’t believe that scene where her character pulls out a rifle to protect the wagon train’s Indian prisoner -- or should I say when she takes possession of the symbolic phallus."
The introductory paragraph set the tone:
The summer season brings the usual cavalcade of testosterone-fueled action heroes, including Thor, the Green Lantern, Captain America and Conan the Barbarian. But action-movie derring-do is not always an exclusively male preserve, and in the last year some women and girls -- Evelyn Salt, Lisbeth Salander and the lingerie-clad avengers of “Sucker Punch,” among others -- have been shooting and not just clawing their way into macho territory. Is this empowerment or exploitation? Feminism or fetishism?
In a report designed to separate fact from fiction on Wednesday's NBC Nightly News, White House correspondent Savannah Guthrie decided to blur fantasy and reality as she compared President Obama's press conference announcing the release of his birth certificate to a moment from the 1995 movie, "The American President." [Audio available here]
After a clip was played of Obama declaring: "We live in a serious time right now, and we do not have time for this kind of silliness. We've got better stuff to do," Guthrie proclaimed: "At that moment, the real president sounding a lot like that Hollywood one." Then footage ran of the fictional President Andrew Shepherd – played by actor Michael Douglas in the liberal film – denouncing one of his Republican opponents: "This is a time for serious people, Bob, and your 15 minutes are up. My name is Andrew Shepherd, and I am the president."
Douglas, of course, narrates the introduction to NBC Nightly News.
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Robert Redford's "The Conspirator" is a thinly-veiled political allegory warning against the danger of trying terrorists in military tribunals. And that's why his movie about the military trial of Lincoln assassination conspirator Mary Surratt is problematic.
That's not me talking, that's Washington Post film critic Ann Hornaday in her April 15 movie review:
Twenty-nine years after her death, novelist Ayn Rand is coming to a theater near you. After many failed attempts, her 1957 novel "Atlas Shrugged" has been made into a film.
In an age when overspending, overreaching, higher-taxing and overregulating government increasingly strangles the private sector, robbing us of our liberties and transforming the country into the model of a socialist state, Rand's story reminds us how far ahead of her time she was and just how dangerous a time we live in now.
It’s a discussion for another day as to why those entrusted with the delivery of news so stubbornly refuse to cover the very deadly war being waged at this very moment against Christianity in the Middle East. The aggressors are radical Islamists, the victims Christians, especially those wearing the cloth. Every week another report detailing another attack seeps through the wall of non-information, of men condemned to death in Saudi Arabia for the crime of conversion, of Catholic churches bombed in Baghdad on Christmas Day, of Coptic congregations slaughtered in Egypt, and the like.
Sad and troubling to be sure, but it’s over there…over there. Do you have any recollection of the story fifteen years ago of the small community of Trappist monks in Algeria kidnapped in a prisoner-exchange plot, and then murdered? To the extent I was aware of the brutal story it was something I quickly filed away in the memory banks under, “Oh, dear.” Nothing more.
French filmmaker Xavier Beauvais challenges us to remember. He has delivered the hauntingly beautiful “Of Gods and Men,” winner of the Grand Jury Prize at the Cannes Film Festival. “Schindler’s List” was aimed at your heart; “Of Gods and Men” captures your soul.
On Monday's All Things Considered, NPR's Bob Mondello used movies about fictional nuclear disasters, such as "The China Syndrome" and "Silkwood," to play up atomic energy's hazards. Mondello especially highlighted the 1959 movie "On the Beach" as supposedly coming the closest to the portraying a real-life radiation catastrophe, such as the ongoing crisis at the Japanese nuclear plant.
Host Melissa Block noted the movie critic's 2010 report comparing Hollywood disaster films to the Gulf of Mexico oil disaster in her introduction: "Last summer, as the oil spill in the Gulf of Mexico was finally brought under control...Bob Mondello did a comparison for us on Hollywood disaster movies and how they differ from real world disasters. Well, in the last few weeks, as tragic events have played out in Japan, Bob realized he had left something out of that story: the menace that can't be seen."
In a report for Thursday's CBS Early Show, contributor Taryn Winter Brill fretted over the impact of movie theater popcorn on Americans' waistlines: "Have you ever wondered how many calories you're actually consuming in that large popcorn with butter? You probably don't want to know. Pretty soon, though, you may not have a choice."
Moments later, nutritionist Katherine Brooking declared the popular concession treat to be "a calorie bomb waiting to explode." Brill then touted a government solution to the problem: "Hoping to defuse this high caloric catastrophe, the FDA is working on a provision in the health care law requiring chain establishments which serve food to list the calorie count of their menu items." She added that Brooking and others "applaud the move."
Well it’s that time of year when all of the rich leftists in Hollywood get out their $40,000 dollar gowns, put on their millions in jewelry, climb into their limos, and head up to the Kodak Theater to pat themselves on the back for being working class heroes. I couldn’t care less about which picture or actor gets a trophy, I just love listening to the political correctness and monumental hubris on display for the world to see.