Hollywood’s “old boys club is dead,” writes the Free Press. “But a new one—with its own litmus tests and landmines—is rapidly replacing it. ‘This is all going to end in a giant class-action’.”
The outlet spoke to “more than 25 writers, directors, and producers—all of whom identify as liberal, and all described a pervasive fear of running afoul of the new [woke]dogma.”
“Best way to defend yourself against the woke is to out-woke everyone, including the woke,” one writer told the Free Press, which would go a long way towards explaining the self-humiliation Stephen King and Rob Reiner engage in daily by way of Twitter.
How do you out-woke the woke? Easy. “Suddenly, every conversation with every agent or head of content started with: Is anyone BIPOC attached to this?”
For those who don’t know, “BIPOC” stands for something-something people of color.
The result is McCarthyism 2.0:
“Everyone has gone so underground with their true feelings about things,” said Mike White, the writer and director behind the hit HBO comedy-drama “The White Lotus.” “If you voice things in a certain way, it can really have negative repercussions for you, and people can presume that you could be racist, or you could be seen as misogynist.”
…
Another writer, who, like most of the writers we interviewed, was afraid to speak openly for fear of never working again, said: “I get so paranoid about even phone calls. It’s so scary. My close friends and my family are just like, ‘Don’t say anything.’ It is one of those things, ‘Will I be able to sleep at night if I say anything?’ Getting jobs in this town is so hard, and I’m very grateful to have a great job. If there’s any so-called ding on my record, that would just be an argument against hiring me.”
It is, said Sam Wasson, the author of “The Big Goodbye: Chinatown and the Last Years of Hollywood,” not so different from the McCarthy era, when everyone in Hollywood professed to believe something that they thought everyone outside Hollywood—the country, their audience—believed. “Hollywood was never anti-Communist,” Wasson said. “It just pretended to be. In fact, Hollywood was never anti- or pro- anything. It was show business. There’s no morality here.”
One industry professional after another tells the Free Press that managers and agents constantly tell them that the production is not hiring white men.
“Now, they’ll just say, ‘Sorry, diversity quotas. We’re just not allowed to hire you,’” a white male comedy writer explained. He says his agent also dumped him.
One writer showed the Free Press email proof of the open discrimination.
“This one a dead end — they are going to limit the search to women and bipoc candidates,” read one email. Another said, “There are some internally that don’t like the idea of hiring a white guy. I wish I had a better way to frame it. Hate this shit.” One more laid it out in just a few words, “Studio now telling us this job must go to a female / bipoc writer. Sorry — it sucks.”
Some have pushed back on this notion by saying there is no discrimination. Blaming “woke” is just an easy excuse for an agent or manager who failed to do his job, they say.
But.
The racist left isn’t exactly in hiding.
“I don’t care if white people aren’t comfortable because black people are uncomfortable all the fucking time.” One black television writer said, “I can’t tell you how many times I’ve had to bite my tongue so as not to offend white sensibilities, so I don’t give a shit if they’re nervous.”
Has this affected the product or the quality of the art? Easy answer. Have you gone to the movies or watched TV lately?
One showrunner said, “It’s gotten to the point where I won’t give notes on a script any longer to a woman or person of color.” Why? He’s terrified of being accused of racism.
Another showrunner said, “You’re not allowed to pick your staff anymore, and studios won’t let you interview anybody who isn’t a person of color.” He added, “I’m sitting in a room trying to run a show with a collection of people I don’t totally trust.”
The “room” is the writer’s room, which, for obvious reasons, is “supposed to be smart, funny, nasty, a little bawdy, the kind of place where people can make jokes and riff and wonder aloud and vomit out ideas that might become an unforgettable scene.”
You need to be allowed to run the gamut of ideas in the writer’s room. This includes bad and offensive ideas. That’s how you find the best idea. Unfortunately, those days are over because Hollywood is forced to hire a bunch of spoiled, entitled, no-talent babies based on their skin color and sex lives.
The showrunner of Hulu’s comedy series Woke said that a batch of “strong” scripts were decimated after the woke producers weighed in. “The notes were all so sanctimonious,” one Woke writer told Free Press. “It was never supposed to be as serious as it was. We wanted a thought-provoking show that made fun of woke culture[.]”
“The result?” writes Free Press. “[T]he show, which premiered in September 2020, landed a 53 percent ‘green splat’ average audience review on Rotten Tomatoes.”
One writer seems to understand what this is doing to the customer. “[T]he audience stops trusting us,” he worries. “They begin to see us as a community twisting ourselves into a pretzel to make every movie as woke as possible, every relationship mixed racially, every character sexually fluid.”
I’m afraid that train has left the station.
The article lays out all the great art from the past that could not be produced in this McCarthyite environment: Blazing Saddles, The Wizard of Oz, Bad News Bears, and Tootsie. It also explains how the Jews who founded Hollywood have been excluded from Hollywood’s new $484 million Academy Museum of Motion Pictures.
It’s madness.
Pure madness.
Anti-art madness.
Naked fascism.
Movie attendance has dropped 48 percent in four years, and the China Flu cannot be blamed.
Streaming services are losing billions.
Why?
The content sucks.
Why does the content suck?
Because the people making the content suck. These are not artists. Instead, they are propagandists, affirmative action hires, perverts, child groomers, and sell-outs.
There cannot be art without truth, and “woke” is anti-truth, is a demonic crusade to rewire human nature through lies, conformity, loyalty oaths, censorship, shame, and intimidation.
Last year, Hollywood’s streamers spent — no joke — $26 billion on content. What a waste of at least $26.5 billion. What a pile of expensive, dull, smug, forgettable garbage.
Those of you looking for something new must look back. Home video is a godsend in these fascist times. There is so much from the past you have yet to discover. The past is where the undiscovered gold lies, that century when arts and individual expression were encouraged, not smothered by a jackboot.
We must stop wasting our lives looking for something to watch on Netflix. You’ve been lied to. You’ve been told the past is full of only stuffy, racist, sexist movies and TV shows. But the truth is the exact opposite. The past is full of life, inspiration, wisdom, beauty, and truth.
Art is truth.
Without truth in art, what you get is… Well, Netflix and Disney.
Follow John Nolte on Twitter @NolteNC. Follow his Facebook Page here.