What are we supposed to expect from an industry that defends and honors fugitive and admitted child rapist Roman Polanski?

If you can’t bring yourself to condemn someone who drugged and anally raped a 13 year-old girl, you are part of the problem.

Moreover, if you want to know how Hollywood feels about sex with children, you can start by watching their films.

Fox News:

If a spate of recent allegations proves true, Hollywood may have a hideous epidemic on its hands. The past two weeks have brought three separate reports of alleged child sexual abuse in the entertainment industry.

Martin Weiss, a 47-year-old Hollywood manager who represented child actors, was charged in Los Angeles on Dec. 1 with sexually abusing a former client. His accuser, who was under 12 years old during the time of the alleged abuse, reported to authorities that Weiss told him “what they were doing was common practice in the entertainment industry.” Weiss has pleaded not guilty.

On Nov. 21, Fernando Rivas, 59, an award-winning composer for “Sesame Street,” was arraigned on charges of coercing a child “to engage in sexually explicit conduct” in South Carolina. The Juilliard-trained composer was also charged with production and distribution of child pornography.

Registered sex offender Jason James Murphy, 35, worked as a casting agent in Hollywood for years before his past kidnapping and sexual abuse of a boy was revealed by the Los Angeles Times on Nov. 17. Murphy’s credits include placing young actors in kid-friendly fare like “Bad News Bears,” “The School of Rock,” “Cheaper by the Dozen 2” and the forthcoming “Three Stooges.”

Revelations of this sort come as no surprise to former child star Corey Feldman.

Feldman, 40, himself a survivor of childhood sexual abuse, unflinchingly warned of the world of pedophiles who are drawn to the entertainment industry last August. “I can tell you that the No. 1 problem in Hollywood was and is and always will be pedophilia,” Feldman told ABC’s Nightline. “That’s the biggest problem for children in this industry… It’s the big secret.”

Another child star from an earlier era agrees that Hollywood has long had a problem with pedophilia. “When I watched that interview, a whole series of names and faces from my history went zooming through my head,” Paul Peterson, 66, star of The Donna Reed Show, a sitcom popular in the 1950s and 60s, and president of A Minor Consideration, tells FOXNews.com. “Some of these people, who I know very well, are still in the game.”

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Looks as thought Roman Polanski has decided to profit from his rape of a thirteen year-old girl by participating in a new documentary film. No word yet on whether or not he received any kind of fee or if the proceeds go to the Anti-Child Sodomy and Flee From Justice Foundation. Thus far, though, the film (and a lifetime achievement award) has already earned Polanski a standing ovation and much adulation from the worst people in the world — those who would applaud a on-the-lam child rapist.

ABC News:

Roman Polanski makes his first public acknowledgement about Samantha Geimer, the 13-year-old model he sexually assaulted in Los Angeles, in a documentary on his life that premiered Tuesday at the Zurich Film Festival.

“She is a double victim: my victim, and a victim of the press,” Polanski says of Geimer in Laurent Bouzereau’s “Roman Polanski: A Film Memoir.” Polanski took to the stage at the Zurich Film Festival Tuesday to accept a lifetime achievement award two years after he was originally intended to receive it, as he was arrested and incarcerated in a Zurich prison at the request of U.S. authorities when he arrived to receive the honor in 2009.

Here’s Samantha Geimer, the woman Polanski raped when she was 13, on GMA today, “He didn’t mean to hurt me.”:

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We should all be relieved Geimer has a sense of closure with respect to the crime Polanski committed against her. But Polanski also committed a crime against society. But because Polanski’s a wealthy celebrity with powerful friends, he’s been able to escape justice for decades now. Furthermore, it doesn’t matter how poorly the system treated him or even that his victim has accepted his apology. In the real world outside of child raping-excusing Hollywood, you do the crime, you go through the system and if the system is unjust in some way, there are other parts of the system to remedy that.

If you fix cars for a living or clean hotel rooms, those are your options. But if you’re one of the Beautiful People, you flee to lavish resorts, continue to work with A-listers, and are greeted like some kind of folk hero from the planet Child Molester.

Want to know what would end the media storm that gives Ms. Geimer (understandably) so much stress and anxiety? If people would stop making movies in defense of Polanski, if Polanski would go into seclusion and stop participating in those movies, and if film festivals would stop honoring Polanski.

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The vocal, sanctimonious Free-Polanski uproar is merely a symptom of an entertainment culture infected with a moral cancer – a culture that regularly practices up on the screen what we’ve heard them preach this last week on behalf of a confessed child rapist.

Last year Miramax released “Doubt,” a high-profile piece of Oscar-bait starring Academy Award winners’ Meryl Streep and Philip Seymour Hoffman. Streep plays a puritanical nun on a moral crusade to expose a Priest (Hoffman) who she believes is sexually abusing a 12 year-old boy. Both characters are portrayed as unsympathetic (especially Streep’s) but in just a couple scenes the boy’s working-class mother (Mrs. Miller, played by Viola Davis) is established as the moral center of the film – the only one truly interested in the welfare of her child. When Mrs. Miller’s informed that her son’s being molested, the Moral Center Of The Film responds that her 12 year-old boy is gay, a social outcast, and beaten regularly by his homophobic father … so maybe the best option for him is a sexual relationship with a forty-something child predator.

Starring Aaron Eckhart, Maria Bello, and written and directed by Oscar-winner Alan Ball, last year’s “Towelhead” is a film Roman Polanski might have seen many, many times while wearing a rain coat. The protagonist is 13 year-old Jasira (played by the then barely eighteen Summer Bishil) and the story surrounds her sexual abuse at the hands of a number of men, including Eckhart’s Gulf War Vet. Rather than the repeated abuse damaging the young girl, the filmmaker portrays the rapes and molestations as a healthy and sexually liberating experience. More than once the audience is “treated” to lingering shots of Jasira’s bare legs as she discovers the joys of the orgasm while masturbating to photographs of naked women.

Kate Winslet won last year’s Best Actress Oscar for her role in “The Reader,” in which she plays a “sympathetic” Nazi guilty of mass murder who seduces and then engages in a steamy sexual affair with a 15 year-old boy. The sex scenes between this mature woman and a child lean heavily on the erotic, as opposed to the creepy. (The “sympathetic Nazi” issue we’ll save for another post.) (more…)

After more than thirty years Oscar® winning director Roman Polanski, the infamous child rapist and decades-long fugitive from justice, has been captured. He should be extradited back to California as soon as possible for sentencing. 

Some of Polanski’s early apologists and defenders are likely now entertaining discomforting second-thoughts about their hasty signing of the petition demanding his immediate release from captivity, as indeed some are also now furiously backpedaling in regret over their indiscretion of speaking out publicly on his behalf. 

It seems an appropriate time to review some origins and history underlying the modern psychological rationales currently attempting to dilute and evade Polanski’s morally deviant nihilism, and the cognitive dissonance (i.e., “it wasn’t ‘rape’ rape”) introjected by countercultural pseudo-intellectual sycophants. 

Its members’ values inculcation was, with purposeful destructiveness, initiated early last century by an all-too-often overlooked intellectual vanguard. So, in deconstructing the value of his sexual crimes, Polanski’s sophistic defenders were/are perhaps unwittingly acting out a reflexive cultural pre-conditioning, rather than logic and reason. This is hardly surprising, considering the players, yet the whys and wherefores are important, if only for historical perspective.  (more…)