The Critical Drinker
Published 6 Feb 2023Disney isn’t looking too healthy these days, with massive financial losses, collapsing stock prices and internal power struggles threatening to tear the House of Mouse apart at the seams. How did this happen? Let’s find out.
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February 7, 2023
Disney – An Empire In Collapse
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January 1, 2023
Public Domain Day for 2023
Duke University School of Law’s Center for the Study of the Public Domain highlights just some of the creative works that have entered into the public domain (in the United States: other countries’ laws may vary substantially) today:
Here are just a few of the works that will be in the US public domain in 2023. They were supposed to go into the public domain in 2003, after being copyrighted for 75 years. But before this could happen, Congress hit a 20-year pause button and extended their copyright term to 95 years. Now the wait is over. (To find more material from 1927, you can visit the Catalogue of Copyright Entries.)
Books:
- Virginia Woolf, To the Lighthouse
- Arthur Conan Doyle, The Case-Book of Sherlock Holmes
- Willa Cather, Death Comes for the Archbishop
- Countee Cullen, Copper Sun
- A. A. Milne, Now We Are Six, illustrated by E. H. Shepard
- Thornton Wilder, The Bridge of San Luis Rey
- Ernest Hemingway, Men Without Women (collection of short stories)
- William Faulkner, Mosquitoes
- Agatha Christie, The Big Four
- Edith Wharton, Twilight Sleep
- Herbert Asbury, The Gangs of New York (the original 1927 publication)
- Franklin W. Dixon (pseudonym), The Tower Treasure (the first Hardy Boys book)
- Hermann Hesse, Der Steppenwolf (in the original German)
- Franz Kafka, Amerika (in the original German)
- Marcel Proust, Le Temps retrouvé (the final installment of In Search of Lost Time, in the original French)
[…]
Movies Entering the Public Domain
- Metropolis (directed by Fritz Lang)
- The Jazz Singer (the first feature-length film with synchronized dialogue; directed by Alan Crosland)
- Wings (winner of the first Academy Award for outstanding picture; directed by William A. Wellman)
- Sunrise (directed by F.W. Murnau)
- The Lodger: A Story of the London Fog (Alfred Hitchcock’s first thriller)
- The King of Kings (directed by Cecil B. DeMille)
- London After Midnight (now a lost film; directed by Tod Browning)
- The Way of All Flesh (now a lost film; directed by Victor Fleming)
- 7th Heaven (inspired the ending of the 2016 film La La Land; directed by Frank Borzage)
- The Kid Brother (starring Harold Lloyd; directed by Ted Wilde)
- The Battle of the Century (starring the comedy duo Laurel and Hardy; directed by Clyde Bruckman)
- Upstream (directed by John Ford)
1927 marked the beginning of the end of the silent film era, with the release of the first full-length feature with synchronized dialogue and sound. Here are the first words spoken in a feature film from The Jazz Singer: “Wait a minute, wait a minute, you ain’t heard nothing yet.” Read about the transition from the silent film to the “talkie” era, and the quest to preserve some of the remarkable silent films on this list, here. Please note that while the original footage from these films will be in the public domain, newly added material such as musical accompaniment might still be copyrighted. If a film has been restored or reconstructed, only original and creative additions are eligible for copyright; if a restoration faithfully mimics the preexisting film, it does not contain newly copyrightable material. (Putting skill, labor, and money into a project is not enough to qualify it for copyright. The Supreme Court has made clear that “the sine qua non of copyright is originality.”) In the list above, while some of the titles were not registered for copyright until 1928 or 1929, the original version of the film was published with a 1927 copyright notice, so the copyright expires over that version in 2023.
Update: Michael Geist explains why there’s no equivalent Public Domain day for Canada:
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December 20, 2022
QotD: Myrna Loy
In the first couple of pages of her 1987 memoir Being and Becoming, Myrna Loy gets down to business. Talking about the sex lives of Hollywood stars such as herself, she tells us that “any business involving so many beautiful and high-strung people working together on such intense and intimate terms is bound to breed an easy promiscuity. God knows I’ve fended off my share of amorous men – attractive, desirable men.”
She goes on to provide a short list: John Barrymore (“just because he felt like a little redhead now and then didn’t incline me to join the club …”), Clark Gable (she shoved him off her back porch one night after he made a pass “and, boy, did he punish me for that!”), Spencer Tracy (“he chased me for years, then sulked adorably when I married someone else …”) and Leslie Howard (despite both of them being married he “wanted to whisk me off to the South Seas, and, believe me, that was tempting …”).
“These days you’re made to feel dull and defensive if you weren’t the Whore of Babylon,” Loy writes. “Well, succumbing isn’t the only interesting aspect of a relationship.”
It’s no surprise that a woman who understands this much was such a natural in screwball comedies, where succumbing is usually held at bay until the last shot, the better to draw out the difficulties, obstacles and improbabilities set up like an obstacle course along the way.
Of the over 120 films she made, most of the first half of her career – largely bit parts, vamps and “exotics” – is forgotten, her reputation based on the fourteen she made with William Powell (six of which were Thin Man pictures), along with titles like The Best Years of Our Lives, The Bachelor and the Bobby Soxer, Mr. Blandings Builds His Dream House and Cheaper by the Dozen.
If she had a type onscreen – and Loy tried hard to avoid becoming a type – she would become Nora Charles, the paragon of wives: supportive but not obsequious, the equal of any spouse, ready with a wisecrack and a bit of fun, and always beautifully turned out. Quite a stretch, she’d admit, for a woman divorced four times, childless and openly dismissive of her domestic skills.
Rick McGinnis, “Do You Take This Woman? Myrna Loy and Third Finger, Left Hand“, Steyn Online, 2022-09-17.
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December 15, 2022
QotD: From The Stepford Wives to The Handmaid’s Tale
Why feminist horror novel The Stepford Wives is still relevant, 50 years on
But before we get to the fisking (I’m running on fumes, y’all; the end of the summer is always the worst time for me), let’s pause for a moment to consider the TV show. You’d think there’d be one, right? Either that, or this is stoyak — The Stepford Wives, coming fall 2022 to Disney Plus. But it doesn’t appear to be. I googled “stepford wives tv show” and got this, which looks trashy enough, but in no way related to the book or movie. There was a remake of the 1970s movie back in 2004, but it bombed.
Odd, no? You’d think that shit would be chick crack — all those Strongk Confidant Wahmens digging into conspiracies and Sticking it to the Man ™. At least, that’s what I thought back in 2004. I thought the casting was dodgy — Kidman was too old (and too glamorous; you really need a pretty-but-not-Hollywood-pretty type) and Matthew Broderick too nebbishy. Nonetheless, I thought the premise would be strong enough to overcome it — oh, you poor, put-upon ladies! But nope.
And then The Handmaid’s Tale happened, as my students would’ve written back in the days, and now I understand why I’m wrong. I should’ve seen it 20 years ago, but better late than never, right? Let’s all have a good laugh at the really obvious thing I missed back in 2004: Strongk, Confidant Wahmens are neither strong nor confident, nor do they want to be either. They want the thinnest veneer of the pretense of the fantasy of those things, delivered to them by a man who comes on like Chad Thundercock, but always somehow has the time to listen to her.
The Handmaid’s Tale, that’s the real chick crack. It’s highbrow bondage porn for the kind of tertiary-educated lady who thinks Fifty Shades of Gray is way too trashy to rent (except, you know, one Girls’ Night with a box of white whine, as a “guilty pleasure”). It gets her all fired up for busting balls at the next partners’ meeting down at the law firm. So empowering!
In The Stepford Wives, book and original movie, the housewives are replaced by robots. The author, Ira Levin, was a guy, and I bet you could tell that just from the one-sentence plot summary. Being replaced by a robot isn’t a “feminist” fear, it’s a male fear. The worry that you’re nothing but a wallet with a criminally underserved dick attached has been pervasive among men since probably the Puritans. It’s a neat trick on Levin’s part, racking up mucho feminist street cred by selling them the #1 male neurosis of the postwar world.
Severian, “SJWs Always Project”, Founding Questions, 2022-08-08.
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December 12, 2022
“The reason that Canada’s arts do not resonate with 95% of Canadians is that they are products of socialist realism’
Elizabeth Nickson on the parasitic world of official “Canadian culture” with its gatekeepers, subsidies, and luxury beliefs:
When I say society, I don’t mean the upper reaches of the wealthy. While we do have the very rich in Canada, they are rigorous in their hiddenness because we have the worst lefties on the continent and that is saying something. The safe thing for any wealthy family is give $ to socialists, bow and scrape to the harpies at the CBC and hope they don’t notice your bank balance. Anyway, these dreadful people arrived post WW2 with their hideous Frankfurt School ideas and just preyed on the simplest most innocent well-meaning good white people you could ever imagine, and literally ate, ravenous and braying all the while, the country’s potential.
So the scandal took place among them, or rather the world they created, which is basically a clutch of 150,000 grifters located between Ottawa, Toronto and Quebec City, whose only mission is to divest the government of as much public money as possible. This is particularly true of their defensive line which consists of the arts and journalism. Theirs is a world where no stone is left unsubsidized by taxes on the hidden rich, waitresses at truck stops in Kamloops and anyone who dares to make money unapproved by the CBC. They are, as a former editor swore to me, the gatekeepers. That was before her circulation collapsed by 65%., but no doubt she still believes it.
The arts and media in Canada are constructed entirely for the 5%, consumed by those who live the lush subsidized life — or those who want to — whether in government or in semi-independent corporations or businesses who require government help and “seed” money etc. (There are a hundred terms for the grift.)
Books, if you look at their sales, are tragic. There have been a handful of impressive films, despite the literal billions thrown at filmmakers over the past 20 years. Most of them are catastrophically depressing, the books make you want to cut out your heart with a grapefruit spoon. Painters paint, if you subtract all the hectoring from minor artists, from forced inclusion, some of them are very good. We can create good art. But not with our current curators.
The reason that Canada’s arts do not resonate with 95% of Canadians is that they are products of socialist realism. They describe humans and human life as they either believe it to have been (dark and in need of enlightened beings like themselves) or as they feel it must be in the future (filled with people expressing their oppression and being paid for it). It’s basically fantasy, and no one likes it, watches it, reads it.
The rest of Canada is a centre-right country, a gut-it-out-and-build-it-kind of place. I know that is the exact opposite of the propaganda, but Conservatives win a majority of the votes in every election, yet still only amount to 40%. We have five parties, and four of them are leftie — their platforms are all “more money for us” — but the big party, the one that receives about 30% of the vote is so crafty, so embedded in our vast vast bureaucracy that fixing the game is child’s play. Informed by their Frankfurt School gurus, they have been in power 100 years, with brief Conservative interludes.
We take in about half a million immigrants a year, and most of them are from desperate places. Vote harvesting in those neighborhoods is done by leaders in each immigrant community. These men and women are the strongest, most educated and frankly from the ones I’ve met, thuggish, and through them comes all access to government programs, housing and education. Therefore, when they collect your vote, you know for whom your vote is meant. The thing about immigrants though is that they were coming for the old Canada, not the new Commie police state.
But for now? Easy. No one investigates this. Why not? Our media is subsidized. ALL of it.
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December 1, 2022
QotD: Movie swordfighting
Most people don’t have that knowledge. So today I’m going to write about the quality of sword choreography in movies, and how that has changed over time, from the point of view of someone who is an experienced multi-style martial artist in both sword and empty hand. I think this illuminates a larger story about the place of martial arts in popular Western culture.
The first thing to know is this: with only rare exceptions, any Western swordfighting you see in older movies is going to be seriously anachronistic. It’s almost all derived from French high-line fencing, which is also the basis for Olympic sport fencing. French high-line is a very late style, not actually fully developed until early 1800s, that is adapted for very light thrusting weapons. These are not at all typical of the swords in use over most of recorded history.
In particular, the real-life inspirations for the Three Musketeers, in the 1620s, didn’t fight anything like their movie versions. They used rapiers – thrusting swords – all right, but their weapons were quite a bit longer and heavier than a 19th-century smallsword. Correspondingly, the tempo of a fight had to be slower, with more pauses as the fighters watched for an opening (a weakness in stance or balance, or a momentary loss of concentration). Normal guard position was lower and covered more of center line, not the point-it-straight-at-you of high line. You find all this out pretty quickly if you actually train with these weapons.
The thing is, real Three Musketeers fencing is less flashy and dramatic-looking than French high-line. So for decades there was never any real incentive for moviemakers to do the authentic thing. Even if there had been, audiences conditioned by those decades of of high-line would have thought it looked wrong!
Eric S. Raymond, “A martial artist looks at swordfighting in the movies”, Armed and Dangerous, 2019-01-13.
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November 13, 2022
Carrying on about the Carry On movies
In The Critic, Alexander Larman looks back at one of the longest-running film series beginning with 1958’s Carry On Sergeant (not to be confused with the earlier — and reputedly terrible — interwar Canadian film of the same name) and continuing with many more until the filmic disaster of Carry On Emmanuelle in 1978 (there was also a 1992 attempt to revive the franchise, which failed):
In Alan Bennett’s The History Boys, it is decreed by the contrarian history master, Irwin, that “if George Orwell had lived, nothing is more certain than that he would have written an essay on the Carry On films”.
We are invited to take Irwin’s instructions that the Carry On films represent a valuable insight into British social history with suitable detachment. (The precise, suitably pompous quote is that “while they have no intrinsic merit, they acquire some of the permanence of art simply by persisting, and acquire an incremental significance if only as social history”.)
Yet Irwin (or Bennett) was almost certainly right that, had Orwell survived into the Sixties and Seventies, he would have found the Carry On film series both repellent and fascinating. It is literature’s, and history’s, loss that we do not have an account of Orwell’s thoughts on the antics of Charles Hawtrey, Kenneth Williams, Barbara Windsor et al.
In 1941, Orwell wrote of postcards by the cheerfully lowbrow artist Donald McGill that “your first impression is one of overpowering vulgarity” and that “what you are really looking at is something as traditional as Greek tragedy, a sort of sub-world of smacked bottoms and scrawny mothers-in-law which is a part of Western European consciousness”. He goes on to say that “jokes barely different from McGill’s could casually be uttered between the murders in Shakespeare’s tragedies”.
[…]
The joy of watching the Carry On films, then, is twofold. On the one hand, the hackneyed stories, two-dimensional characterisation and laboured puns and innuendo can be enjoyable, on a purely basic level, but hardly threaten to aspire to the levels of great art.
Yet on the other, the cheerfully Rabelaisian sentiments of the pictures — in which all men and women are defined purely in sexual and scatological terms — exist on a level of reductio ad absurdum.
It is no coincidence that the best Carry On films contain a vein of social satire in their mocking of great British institutions, whether it be the NHS, MI5, the army or the Raj, and the final set piece of Carry On Up The Khyber — in which the stiff-upper-lip British occupiers ignore the Afghan invaders while taking formal dinner in black tie — rises to a level of surrealist genius that would have made Buñuel proud.
There is occasional talk of making another Carry On film, but with all the principal cast (save the ever-sprightly Dale) now dead and with the world a very different place, it is impossible to imagine that we will ever see, say, Carry On Tweeting or the like.
There is every possibility that a really top-notch cast could be assembled, if there was any serious intent behind it — I would love to see Andrew Scott, for instance, offer a more dynamic take on the kind of roles that Williams essayed, because he would do so brilliantly, and if the script could be written by the award-winning likes of Patrick Marber or Richard Bean, it could be a thing of innuendo-heavy beauty.
But then the Carry On series never was a thing of beauty. In its grim and hilarious way, it took every British national stereotype, pulled its trousers down, and gave it a hearty slap on its bare buttocks. Some might find this offensive; others might mourn its loss from public life.
In either case, we shall not look upon its like again. Dr Nookey, Francis Bigger, Professor Inigo Tinkle, Vic Flange: your services are no longer required. To which unkind cut we must solemnly say: “Ooh, matron.”
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November 12, 2022
The Final Bloody Chapter of Operation Reinhard – War Against Humanity 085
World War Two
Published 9 Nov 2022The genocide of the Jews of Eastern Europe concludes with Operation Harvest Festival — Aktion Erntefest when 42,000 are murdered in the Lublin district.
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November 10, 2022
Contemplating the end of brand franchises like Star Wars
Ted Gioia is wondering how Star Wars ends:
Original Stormtrooper Hero Helmet from Shepperton Design Studios + originalstormtrooper.com
Lately, I’ve been wondering how Star Wars ends.
Let me be clear, I’m not worried about how the story resolves, or what happens to the characters. I have zero interest in all that. Darth Vader can win the Nobel Peace Prize, for all I care.
I’m more concerned with how a powerful brand franchise loses its stranglehold on the culture. And it’s not just Star Wars, it’s all those other stories that never achieve closure. I’m talking about Batman and Indiana Jones and James Bond and the Marvel Cinematic Universe (or MCU, for short), and the rest of them.
They all die, sooner or later. But how?
Heroes in capes and colorful costumes seem invincible now, if only because these fictional flâneurs are bigger than anything else in commercial culture. If Spiderman and Batman were real people, they would boast higher incomes and net worth than any flesh-and-blood entertainer in the world. The Marvel Cinematic Universe, which Disney acquired back in 2009, must be worth ten or twenty times the $4 billion they spent back then — total revenues from Marvel brands since then are somewhere around the one trillion dollar mark.
No pop star in history has ever possessed that kind of earning power.
Can these franchises just go on forever? The management team at Disney certainly must hope so, judging by their never-ending slate of Star Wars, Marvel, and other brand extension offerings. No Time to Die isn’t just the name of the 25th James Bond movie, but a promise for the future — why not another 25 films in the series? Or 50 or 100?
But brand franchises do die, or become so tired that few people care anymore. Universal Studios made so much money from Ma and Pa Kettle films that these corny comedies allegedly saved it from bankruptcy in the 1940s, but by 1960 audiences had lost interest in the predictable formulas of the series.
The Carry On films were the most dependable audience draw in British comedy, but after 31 movies the franchise could carry on no longer. A final resuscitation attempt after 14 years not only failed at the box office but was voted the worst British film ever made.
Some franchises not only die, but become genuinely toxic as attitudes evolve — killing, for example, the Charlie Chan franchise, and making it unlikely that Tarzan or the Lone Ranger or many other once lucrative brands will ever enjoy another meaningful payday.
None of this should surprise us, because narratives and protagonists go in and out of fashion like anything else. A story that charmed your grandparents is unlikely to interest your grandchildren.
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October 30, 2022
Jatimatic: Finland’s Least Successful PDW
Forgotten Weapons
Published 24 Jun 2022The Jatimatic was a stockless PDW designed by Jari Timari, who co-owned Tampereen Asepaja Oy, a firearms company in Tampere Finland. The firm was founded in the early 1920s, making .22 biathlon rifles, sporterizing military surplus, and other gunsmithing work. In the late 70s he got the idea for a compact 9mm PDW with some unique climb-reducing features, and in 1980 it was introduced as the Jatimatic (JAli TImari). Only about 400 were made, as it was not adopted or purchased in large quantities by anyone (although it was tested by many, including the Finnish Border Guards).
The Jatimatic was made without a stock, instead using a shooting sling for stabilization. It used standard Swedish K magazines, and has a distinctly off-angle appearance. This was done to counteract muzzle climb, as the line of the barrel points directly back into the shooter’s hand. It also has an interesting safety built into the folding front grip – if the grip is closed, the bolt is locked in place.
Production ended in the late 1980s after “permit irregularities” and a robbery of a bunch of Jatimatics from the company premises. The rights to the design were sold to a new company called Golden Gun in 1994, and they attempted to reintroduce it as the GG-95 with a few improvements, but it was a rather complete flop. Its best achievement was getting into several major movies, including Cobra and Red Dawn.
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October 14, 2022
The commercial failure of Bros
With the movie failing to find much of an audience, the director and lead actor blame homophobia, because that’s far easier than accepting that rom-com movies are quaint, out-of-date, and stale in the modern hookup culture:
In the case of movies, one might respond to Stoller and Eichner by saying that entertainers are supposed to provide products that the viewing public wishes to see. It might surprise the team behind the didactic Bros that many of us watch movies to be entertained, not to be preached at, seeing them as brief, trivial moments of escape from the drudge of daily life, not an opportunity to (as the Victorians would have said) “improve” ourselves. But even though it has proved an abject commercial failure, the movie is nonetheless instructive in how our culture is changing. And both its production values and its failure are likely signs not of the LGBTQ movement’s influence stalling, but of its remarkable success.
[…]
Romance depends upon sex being costly. It was the difficulty of obtaining sex, the need for that delicate, complicated, and unpredictable interpersonal dance between two people, that was the very essence of what it was to be romantic. In a world where sex is not simply casual but remarkably cheap, the notion of romance is dead. Romance requires a particular kind of culture in order to make sense. A world of hookups, one-night stands, and all-pervasive pornography is not one that gives people the cultural grammar and syntax to understand it. That the movie apparently contains scenes of sex and nudity is hardly exceptional today. But that’s the point: A world where sex and nudity are displayed on the screen is not a world where romance has any place. Just as explicit rap lyrics reflect a world antithetical to that in which Frank Sinatra sang “Fly me to the moon”, so the endless tedium of explicit sex on celluloid is not that of Audrey Hepburn and Fred Astaire in Funny Face. Romance depends upon social codes of restraint and modesty, and upon the idea that sex is not something casual but something special, even sacred.
The same point can be made with reference to what we might call romantic tragedy. Take Tolstoy’s Anna Karenina. The story simply could not be set in modern America because Anna, married to the tedious Karenin but falling in love with the dashing Vronsky, would simply file for divorce and move out of Karenin’s house and into that of her lover. The tragic romance is rooted in the impossibility of Anna’s situation, given the way sex is seen through the powerful moral lens of nineteenth-century Russian society. The genre of romantic tragedy depends upon a specific moral framework. So does the genre of romantic comedy. But the sexual revolution has obliterated that moral framework.
To return to Bros, it is frankly as ridiculous to make a rom-com in the twenty-first century as it is to hire a cast and crew on the basis of modern categories of identity rather than professional competence. And, while the Bros team might regard its box office failure as discouraging, it might just as easily be evidence of the triumph of the LGBTQ movement in wider society as it is of a residual resistance to the same. Please don’t blame homophobia for your commercial failure. Romance is dead. And you helped to kill it.
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September 26, 2022
Did D-Day win WW2? – a WW2 expert discussion
World War Two
Published 25 Sep 2022WW2 historians Indy Neidell, Spartacus Olsson, and Paul Woodadge moderated by Ryan Socash discuss the meaning and significance of D-Day from historical, current, and future perspectives. Recorded on the road while shooting in Normandy for TimeGhost’s 24-hour documentary on the events of June 6, 1944.
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September 24, 2022
The end of crisis culture – “[Y]ou can’t go on having a culture of crisis if people stop showing up for it”
Chris Bray on the inevitable endgame of “all crisis, all the time” culture:
The journalist John Tierney has described the Crisis Crisis, “the incessant state of alarm fomented by journalists and politicians”. What we’re experiencing now is the Crisis Crisis crisis, the emerging crisis caused by the Crisis Crisis. Over and over again, interventions in some invented or overhyped form of the crisis, undertaken in the hysterical spirit of the Crisis Crisis, cause a form of the Crisis Crisis crisis, which eventually results in a course correction that may or may not be fully apparent for a while. Skip right over the next paragraph if you don’t need to see examples again.
The Sri Lankan government intervenes in climate change by instantly ending the use of commercial fertilizers in agriculture, which causes a dangerous decline in the production of food. The German government intervenes in climate change by declaring a commitment to 100% clean energy, which causes dangerous instability in the availability of actual energy (“committing national suicide“), with some help from the Nord Stream shut-off valve, which nobody ever could have seen coming. The Dutch government intervenes in climate change by declaring an intention to limit agricultural production, which doesn’t cause anything yet, because Dutch farmers won’t stand for it, but final outcome TBD.
All over the world, things that work stop working because of excessive and unwarranted interventions led by people who cry crisis and throw sand in functioning gears. Dutch agriculture was just fine; then the government decided to help end the crisis. The interventions — the interveners, the people who get in the way — are harming us, when their harm could be prevented by literal nothing, by the simple choice to not perform the interventions. What we need is for the interveners to go play Risk in their basement or something, and forget their important duty to help.
The entertainment industry has had its own intervention, famously described on Substack, in woke-facing talent purges and narrative shifts and insulting “It’s Ghostbusters … but with WOMEN!” reboots. And now some hint about the endgame of the one big cycle of fraud comes from woke Hollywood — which has pounded audiences with The Message for years, resulting in a catastrophic loss of audience. The result is starting to look like this:
The social justice intervention in Hollywood storytelling is harming Hollywood; the intervention in that industry is causing the decline of the industry. At some point, people stop eating shit.
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September 13, 2022
Society would be happier if we all paid even less attention to “the tossers of Tinsel Town”
Ian O’Doherty on the malign influence pretty people who mouth other people’s words for the cameras still exude in our popular culture:
Tucker Carlson … the man from Jennifer Lawrence’s nightmares, apparently.
They never learn, do they? If the tumultuous events we have all watched with growing horror over the past few years taught us one thing, it is this – people don’t care what the pampered starlets of Hollywood have to say about politics. If we did, then Hillary Clinton would be comfortably enjoying her second term as the pantsuit POTUS, Jeremy Corbyn would be prime minister of the UK and we would all be driving electric cars.
But regular people are smarter than actors, which seems to drive the luvvies wild with fury. Rather than accepting that maybe, just maybe, there is another side to the argument, the tossers of Tinsel Town insist that anyone who doesn’t fully embrace the so-called progressive agenda is simply a monster.
We saw this recently when Jennifer Lawrence, who used to be quite refreshingly down to Earth, proudly admitted that she had to “work so hard … to forgive my dad and my family” for voting Republican. She also, quite wonderfully, spoke about having “recurring nightmares” about Fox News anchor Tucker Carlson.
In the course of her interview for the cover issue of Vogue magazine – that renowned bastion of proletarian agitation – the Hunger Games actress claimed that she was born a Kentucky Republican, was raised as a Kentucky Republican and had considered herself to be a Kentucky Republican, until she watched an episode of 30 Rock. And then her worldview completely changed.
Now most of us would agree that 30 Rock was a brilliant sitcom. After all, it was so ingenious in its construction that it even managed to make Alec Baldwin look likeable. But would anyone think that Liz Lemon’s line, “I’m not a crazy liberal – I just think people should drive hybrid cars”, would be enough to utterly transform someone’s political beliefs?
Apparently, this is what changed everything for Lawrence. She even seemed proud of the fact that a throwaway line in a sitcom triggered some sort of Damascene conversion to what is now so tediously known as “the right side of history”.
Predictably, following the Vogue interview, Lawrence was hailed as a modern-day Joan of Arc – for refusing to be “passive about politics”. But there is no real bravery involved in simply having the courage of other people’s convictions – she knows which way the political wind is blowing and is bending to it. That’s not all that brave, is it?
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September 12, 2022
The Lord of the Rings and Ancient Rome (with Bret Devereaux)
toldinstone
Published 10 Sep 2022In this episode, Dr. Bret Devereaux (the blogger behind “A Collection of Unmitigated Pedantry”) discusses the relationships between fantasy and ancient history – and why historical accuracy matters, even in fiction.
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