There’s nothing better than being able to do the right thing and the politically savvy thing while simultaneously paying back a long-time abuser in spades.

And that’s just what the Republicans in Congress did to Hollywood when it abandoned the rush to pass SOPA and regulate the Internet for the benefit of Tinseltown. Astonishingly, considering its usual inability to perform competently at even the most basic level, the GOP not only managed to embrace good policy but drove a wedge into the Democratic coalition that may well have dramatic consequences down the road. And, best of all, it provided a bit of long overdue payback to the smug oligarchs of LA’s West Side who have spent the last couple decades treating Republicans like something you’d hasten to flush.

Hey, suckers, how do ya like us now?

The Stop Online Piracy Act (SOPA) is only the latest attempt by Hollywood to breathe some life back into its dying business model. Enraged that online “pirates” are passing around bootleg copies of movies, shows, books, music, and all other manner of intellectual property, the industry did what it has done for years: ran to Congress for ever more burdensome and onerous laws designed to hold back the inevitable consequences of progress. 

But this time, it went too far. Perhaps it was Hollywood’s arrogance. Perhaps it was the provisions allowing Hollywood to use the United States government to shut down any website it pleased on the mere accusation of “piracy” without any due process, a power lefty–fascist bureaucrats would be only too eager to accept.

Not surprisingly, the people who make their living on the web were less than thrilled about giving Uncle Sam and the media conglomerates an off-switch.

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For lefty movie reviewers already bitter that Margaret Thatcher even existed – and especially bitter because her three terms as Britain’s prime minister utterly repudiated their most sacred beliefs – the new Thatcher biography The Iron Lady offers them a chance for some quality ankle biting.  Of course, this living legend will survive both the film and the wailing of these liberal pipsqueaks.  The problem is that we still can’t be sure whether we ought to see it or not.

The arrival of a serious film about a serious conservative presents liberal reviewers with a quandary. When the film trashes the conservative, that’s great – the slander in and of itself is good for at least a star on its own, and if the boom mikes aren’t looming in the frame and the actors don’t forget their lines you’re guaranteed at least a three star review if only in the name of socialist solidarity.

But if the movie, as some say happened here, refuses to take a position on its subject, then there’s a problem for the liberal reviewer. As we shall see, they tend to handle it by simply inserting their own limousine liberal insights into the review. Somewhere, sometime, someone must have lied to them and told them that the world gives a damn about the political views of guys whose job it is to discourse upon movies that feature singing chipmunks, space robots and/or Ashton Kutcher.

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Because of Hollywood’s default liberal culture, it’s almost impossible to watch comedy that has any social or political relevance that doesn’t go squarely after conservative targets with gleeful and mean-spirited offensiveness. For the most part, conservative comedy lovers would just do well to fasten their seat belts and get ready for the bumpy ride, because attack comedy on right-wing targets is just part of the territory.

But does it have to be that way? Imagine a sketch comedy show that pokes fun at clueless liberal mayors, politically correct feminists, and entitled hipster butt-inskys. Sound impossible in today’s climate? Surprisingly, the most politically incorrect comedy show out there right now might just be IFC’s “Portlandia.” All six episodes of the first season of the show are currently available for streaming on Netflix, and the second season starts January 21^st on IFC.

“Portlandia” is the brainchild of “Saturday Night Live”’s Fred Armisen and musician Carrie Brownstein. It’s a half-hour show set entirely in the left-wing magnet city of Portland, Oregon. In the very first episode, they say that Portland is a city where the 1990s never ended (it’s “a place where young people go to retire”) and sure enough, Armisen and Brownstein have created a cast of Portland-based characters with the requisite tribal piercings, chin beards, and indigenous pantsuits. (more…)

You’re not a conservative if Kim Kardashian making millions for being a half-witted, no-talent reality TV star bothers you. In fact, if you feel “there oughta be a law” somehow regulating, limiting or otherwise controlling in any manner at all how much dough she rakes in from the drooling morons who choose to fling it at her, you are part of the problem.

This woman took very, very little in the way of ability and somehow provided a service – of a kind that frankly baffles me – that millions of people nevertheless want to spend their money on. Regardless, it’s none of your or my business, and it’s especially none of the government’s business.

But now, here comes “Occupy Hollywood,” a hilarious exercise in poetic justice in which the left proposes to chase its own tail by attacking the same cretinous celebrities who have been the first to parrot every commie slogan the bongo-playing degenerates of Occupy Wall Street have misspelled on their placards.

Jo Piazza, the author of some remainder bin perennial titled Celebrity, Inc.: How Famous People Make Money, is leading the bite-the-hand-that-feeds-you-athon with an article in The Huffington Post called “Occupy Hollywood: Why It’s Time To Call Out High-Earning Celebrities.”

For some reason, she thinks what movie stars make is some sort of problem:

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It’s always a bad sign when my Hot Wife switches to Spanish, which she did after watching about 20 minutes of the premiere of Terra Nova.  She dubbed it Terra Mierda.  I won’t translate it for you gringos; just understand that it does not mean “World of Quality Entertainment.”

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Now, understand that it gives me no pleasure to report that Terra Nova is off to a crappy start.  None.  Anyone living in California knows lots of people who work in the Industry, from crew to talent, who rely on production to feed their families.  We want shows to be great, to be hits, to run for years.  And none of them got up and said “I want to take an interesting idea and turn it into a hackneyed, tedious death march.” Well, maybe the writers and producers did – the vicissitudes of chance do not account for how they managed to hit every tiresome cliché and make every bad choice available every time.

The conceit of Terra Nova is that a bunch of people from 2189 are sent back in time from a polluted, fascist Earth 85 million years to restart human civilization.  They face all sorts of ferocious dinosaurs, which is cool, and that have all sorts of bitchin’ guns, which is also cool.  Steven Spielberg is involved with it, and once upon a time he made movies I actually liked.  Fox is spending a fortune on it.  It should be kinda interesting and kinda fun.

But no.

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Alec, you need to stop treating American soldiers like they were members of your own family.  They deserve better than that.

Not content with achieving Father of the Year Emeritus status for his unique, outside-the-box parenting skills, Alec Baldwin spent yesterday evening on Twitter to once again offer his nuanced, carefully researched insights into a variety of important topics.  In doing so, he offered a powerful challenge to such innovators as Oliver Stone, Sean Penn and even Hanoi Jane for the coveted title of “Hollywood’s Biggest Idiot.”

In the past, I’ve even taken to these pages to defend Alec as a performer.  But as amusing as he is on screen, the fact is that he is a moral illiterate who refuses to let his manifest ignorance hinder his desire to have himself taken seriously as something more than an actor. 

Alec wants to be just like Ronald Reagan, except he’s handicapped by some challenges the Gipper didn’t face – like being a leftist, a jerk and a fool.

The bloviating buffoon apparently got agitated because Georgia decided to execute a cop killer who had spent 22 years failing to convince any jury or judge that the overwhelming evidence against him was inadequate.  Ironically, the police officer Troy Davis finished off with a bullet to the head was an Army veteran – and judging from Alec’s attitude toward our warriors as manifested in his subsequent tweets, he probably thought that fact supported sparing the killer of Officer Mark MacPhail, Sr.

Here’s a selection of some of his inane tweets from his Twitter timeline.  Let’s see who fails to live up to Alec’s exacting standards!

Well, Michelle Malkin certainly does:

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The artistic community is always ready to stand against censorship – and we know that because it constantly tells us so.  If you want to drape an American flag across a walkway to make a statement by letting goateed hipster art aficionados traipse across it, you’re a bold visionary.  If you want to write a novel about shooting a Republican president, you’re courageously speaking truth to power.  If you want to smear pachyderm dung on a painting of the Virgin Mary, you’re bravely facing down the forces of religious bigotry.

Hell, you not only have a right to do it, but you have a right to have it federally funded through the NEA by the very taxpayers whose collective mind you intend to blow by getting so darn real.   It’s right there in the Constitution, amid the emanations and adjacent to the penumbras.  Oh, but if you accurately depict the acts leading up to the murder of nearly 3000 Americans, you’ve got to be stopped.  After all, the artistic elite can’t let you upset the Krugman-esque party line that 9/11 was really about Bu$Hitler and Company’s wars for oil or something.

The artistic community is anti-censorship right up until the second it decides it wants something censored.  Then it piles on.

A little background.

Steve Reich is a Pulitzer-winning composer who lived a few blocks away from the World Trade Center when the planes hit on September 11, 2001.  He was out of town at the time, but his family was home.  They barely escaped, but the experience was so emotionally traumatic that it was only as the 10th anniversary of this monstrous crime approached that he was able to finally express his feelings through his art.  You would think the artistic community would praise him – well, you would think that if you had not been paying attention and still believe that it possessed the capacity for shame at its own rank hypocrisy.

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Great films need great actors and great actresses. Unfortunately, Hollywood doesn’t do great actresses anymore. . . it does Barbies. In truth, Hollywood never was great with actresses, but it’s gotten much worse lately. Talent, apparently, no longer matters when casting actresses, just looks. To be a modern “actress,” you need to be under 35 years of age and look like every other Hollywood ditz. What’s worse, Hollywood is now trying to pass off sexual exploitation as “strong roles” for women.

Megan Fox adjusts her "talent" before their next scene.

1. Dear Hollywood: Stop The Age Discrimination

Age discrimination is a problem in Hollywood. Seriously, what is the fascination with jamming twenty-somethings into every role? It doesn’t work. These young girls simply don’t have the maturity or the depth to play the parts of women. It strains credibility beyond the breaking point when they cast some silicon enhanced girl to play the nuclear scientist or the head of a corporation or. . . well, any woman in a position of authority. I know powerful women, professional women, and women with a great deal of maturity, and none of them look or act anything like Hollywood seems to think.

And please stop casting girls as the wives of old, old, old male actors. It’s creepy. Teri Garr and Richard Dreyfuss worked in Close Encounters because they looked like a couple. Septuagenarian Harrison Ford married to Megan Fox doesn’t. Not only can we not see them getting together in the first place, but we can’t see them as a “normal, loving couple.” Instead, the words “gold digger” and “cradle robber” and even “grave robber” come to mind. And holy cow, stop casting “mothers” who are only a year or two older than their movie “daughters.” Was there a plague in Hollywood that wiped out all the women over 40?

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You’ve certainly heard of the new film Super 8.  Not the self-serving Anthony Weiner autobiography– the new summer flick about a small town in 1979 invaded by a strange alien creature that was written and directed by J.J. Abrams and produced by Steven Spielberg.  With that pedigree in mind, I took off work early to take the little monsters to see it in the hopes that it would do what the trailers seemed to promise – capture the feeling of those uniquely American summer movies of the 70’s and 80’s like Close Encounters of the Third Kind, E.T. and The Goonies that mixed action, laughs, and special effects together in a way we see all too rarely in the Michael Bay world of today.

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Yeah, it kind of did that, I suppose.  Except I was too busy wondering why the central premise somehow had to be that American military personnel are sadistic, bloodthirsty, cold-blooded murderers.  Then I remembered that this is Hollywood.

Now, to talk about Super 8, I will have to reveal what some might call “spoilers.”  Except, they aren’t really “spoilers” because to be that the plot points I reveal would have to be unexpected and surprising.  Sadly, Super 8 adopts the same tiresome clichés that have been wrecking Hollywood films for the last 40 years.  The only surprise was the total lack of any surprise.

What do we have? Crazy, evil military officer as the baddie?  Check!  Kid with daddy issues?  Check!  Climax where the hero rescues the girl from monster’s lair?  Check!  Monster that is the real victim even though he’s freaking killing US military people and eating civilians left and right?  Check?

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There’s a theory that in order to ensure you never get hassled again, you walk up to the biggest guy in the room and knock him on his butt.  If you win, no one will ever mess with you because you knocked the biggest guy in the room on his butt.  And even if he gets up and pounds you into the ground, people will still avoid messing with you because you were crazy enough to try to knock the biggest guy in the room on his butt.

In the battle for the soul of our country, popular culture is the biggest guy in the room.  And it’s time that conservatives took a swing.  The Powerline Prize contest is a potential haymaker in one of the most important battles of our campaign.

Here’s how it describes itself:

The Power Line Prize of $100,000 will be awarded to whoever can most effectively and creatively dramatize the significance of the federal debt crisis. Prizes will also be awarded to the runner-up and two third-place finishers. Anyone can enter the contest—individuals, companies (e.g., advertising agencies) or any other entity, as long as the contest rules are followed. Any creative product is eligible: videos, songs, paintings, screenplays, Power Point presentations, essays, performance art, or anything else, as long as the product is unique to the contest and has not previously been published or otherwise entered the public domain. Entries may address the federal debt crisis in its entirety, or a specific aspect of the debt crisis, such as: the impact of the debt crisis on the young; the role played by the “stimulus” (Where did the money go? Why didn’t it stimulate?); how entitlements drive the debt crisis; the current federal deficit; how the debt crisis impacts the economy; or any other aspect of the debt crisis. The contest is non-partisan. Its purpose is to inform the public about the federal debt crisis.

Conservatives often dismiss the world of art as a milieu of posing half-wits seeking government subsidies for the unsellable, ridiculous and boring crap they churn out for the benefit of goateed posers and other suckers.  This is because an enormous amount of what is today labeled as “art” is manufactured by   posing half-wits seeking government subsidies for the unsellable, ridiculous and boring crap they churn out for the benefit of goateed posers and other suckers.

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There is a procedure in law called summary judgment where you can win your case without even going to trial because the basic facts are simply undisputed.  Ben Shapiro’s new book,  Primetime Propaganda: The True Hollywood Story of How the Left Took Over Your TV is one of the best motions for summary judgment I’ve ever read.  There can be no dispute over the facts because Ben presents them through the words of the leading lights of Hollywood liberaldom themselves – how he got the interviews he recounts here is simply beyond me (I count over 20 pages of footnotes).  But what is clear is that the television industry is liberal-left through and through, and that it pushes its dogma upon its audience while closing ranks to ensure conservatives never get a chance to enter what Ben demonstrates is an insular, incestuous community of like-minded Democrats cocooned away from reality in an echo chamber of Obama-worshipping limo-libhood. 

The half-hearted denials of some in the industry are belied by their own actions and their own words – and, surprisingly, by the refreshingly candid admissions of some liberals in television who not only admit its intolerance and stridency but even claim to regret it.  Case closed.

Full disclosure – Ben’s a friend and my frequent “Hour of Hate” partner on Larry O’Conner’s legendary Stage Right Show.  He’s also the rarest of things – a proud Harvard Law School graduate who is fiercely conservative and who loves television (By the way, Ben’s much-mocked predilection for wearing Harvard Law hats and other apparel makes a hilarious appearance in the book).  But Ben’s no snob – he not only freely admits how much he likes television but insists that much of it is well-acted, well-directed and well-produced, its insidious pinko undercurrents notwithstanding.  Moreover, Ben is a creature of Hollywood – he has family in the industry, friends in the industry, and he even flirted with entering into it himself, until he ran smack into the seemingly impenetrable wall that is the conservative blacklist.

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A few months ago, I noticed that we had a new artist at our site (BigDawg Music Mafia) named Toots Sweet from New York, New York.  My first thought was, “Wow…a conservative musician from ‘America’s most liberal city,’ with a cool name.  Can’t wait to see what he brings to the table.’”

It usually takes our new members a few days to figure out how to navigate their way around our site (hosted on the NING platform), so I went about my business and made a mental note to check back in a day or two.

My good friend/songmate/partner-in-crime, Drew (a.k.a. BigDawg), sent an email to me saying, “You have got to check out this new guy, Toots Sweet…he’s great!”

So I did…and I smiled…big.

We have such a wide range of musical genres at our site, but this man is a true original with a great message and a cool vibe.  His tribute to our troops, “Soldier Boy,” is one of my favorites. (more…)

From Agence France-Presse:

Actor Sean Penn on Friday described the killing of Osama bin Laden by US troops as an act of “vengeance”. Penn, famous for his political and social activism, was at the Cannes film festival to present a risk-taking road movie, “This Must Be The Place”, in which he plays an ageing 1980s pop star in search of his father’s Nazi tormentor.

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So some southern Arizona lefties have launched a petition to split the state – creating a new liberal paradise, called Baja Arizona.

Now this is not a new idea, but it’s still a great one -if not for a state, perhaps for a game show. Pit two groups of people, with opposing views, against each other, and see who wins.

Arizona is perfect, in that it contains the most liberal and conservative folks in the Union. You can spot the libs by the turquoise, and the righties by their guns.

In Arizona, even their guns have guns.

And those guns? They carry tiny knives! (made of guns)

And these groups hate each other. The left calls the right bigots, and the right sees the left as patchouli-drenched socialists, which of course, they are.

I kid: patchouli is so over.

But a contest between ideologies seems ripe.

True, it’s been done (see communism vs. capitalism, East vs West Germany, Rocky vs. Drago, and – of course – Quisp vs. Quake). but why not try it here – without government intrusion?

This way, we can see whose ideas work, while keeping folks who hate those ideas, from benefiting from them.

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“Entertainment Weekly,” which (I think) Nikki Finke hilariously and accurately describes as a magazine for waiting rooms, has come up with ten ways to save the movies. Most of the ideas are just warmed over warmed-over ideas we’ve all heard a hundred times before, but #3 caught my eye:

3. Stop killing us with your popcorn.

A 2009 study found that a single medium-size bag of popcorn from the Regal theater chain contained 1,610 calories and 60 grams of saturated fat. Add in a large soda (350 calories) and some Reese’s Pieces (1,200 calories for an eight-ounce box), and you’re taking your life in your hands. John Fithian, president of the National Association of Theatre Owners, insists theaters are just giving moviegoers what they crave. ”When people go to the cinemas, they want to escape — from their diets, too.” Still, popcorn shouldn’t have to come with a warning label. Some theaters, mostly in upscale neighborhoods, have been offering healthier, higher-quality concessions.

Why are Lefties always so eager to strip us of our own personal choices (unless that choice is for taxpayers to fund sucking unborn babies through vacuum tubes)? And this is coming from someone who doesn’t eat junk at the movies. Popcorn and soda at my age goes right to my hips. But is my self-discipline unique? Am I a better person person than the elites looking down on us from Mount EW? Okay, well, most of us are because we believe in liberty, but my point is that if I can control myself, anyone can. And who is EW to control others for their own good. Sorry EW, there’s no such thing as second-hand popcorn calories, so there’s no second way to skin this cat.

How can the same Left in favor of euthanasia have such a thick stick up their backsides over nachos?

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When the mini-series The Kennedys was announced last year the left-wing blogosphere “hit the fan,” so to speak. Robert Greenwald, a “progressive” propagandist who seems to always be hitting up readers for money to pay for unpopular “documentaries,” called it “a political hit job,” with no sense of irony or any idea of what the finished product would look like. (He’s currently soliciting money to produce a “documentary” on the evils of the Koch brothers.) Greenwald even dragged self-professed JFK lover Nigel Hamilton (author of the JFK biography “Reckless Youth” – which was also attacked as anti-Kennedy) into the fight. Needless to say, this campaign was designed only to harm the mini’s conservative producer Joel Surnow for, well, being conservative. That’s really the only explanation for their “outrage” since an early draft of the script was all they had to go on.

Never known for letting the facts get in the way of a good story, and always on the lookout for an excuse to start a chant, drum circle, boycott or petition, leftists decided on the boycott/petition angle to get the mini-series dropped from its intended home, the History Channel. Naturally, the network that brought us the two-hour star-studded spectacle called “The People Speak,” based on über-leftist Howard Zinn’s work, caved faster than couch-cushion fort. Fear of a left-wing backlash and/or agreement with the Leftists’ agenda kept other, larger networks from picking it up. So the mini was without a home for a while. (Note: I say this because with a top-notch cast and crew and a $30 million production budget, the quality of the project was never in doubt — which leaves ideology or fear as the only logical rationale for passing.)

It finally found a home on the Reelz Network, where parts one and two premiered last night.

Having watched it, and many other movies based on the life of the Kennedy family (including the aforementioned JFK: Reckless Youth on ABC), my overall reaction is this: What was all the fuss about?

After digesting the first two parts, I can honestly say that there were only one or two things I didn’t know already, and none of them were major shockers. The Kennedys shows the family to be exactly who they are known to have been – ambitious, loyal (at least to each other), tenacious, all with a willingness to do whatever it takes to get their way and an insatiable taste for the ladies. The only people who would come away with their perception of the “clan” being destroyed or even challenged are young people spoon fed history from sycophants and ideological hacks who still believe “Camelot” was the closest we as a nation and species have come to perfection.

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A fight to the death in an urban hell between US Marines and an implacable, evil foe who murders civilians without a second thought – if only Hollywood had the moral courage to tell that story straight, the story of America’s finest who battled to victory over jihadi degenerates in Fallujah and throughout Iraq and Afghanistan.  But Hollywood can’t tell that story, not without exchanging the real menace our men and women are fighting everyday for a horde of CGI space aliens.  Sadly, the industry lacks the moral courage of the men and women it portrays.

Let’s be clear – Battle: Los Angeles is a terrific action film that makes no bones about its pro-American, pro-military agenda.  And that fact has invited carping from the usual suspects, lefty movie critics who work themselves up into a lather over the portrayal of better men than they will ever be.   

And note that when I use the term “men” here, I include the fighting women of the US armed forces – don’t worry, critics:  Heroines like Sergeant Leigh Ann Hester will protect you . . . just move to the rear with the children and try not to get in the way. 

The fact is that science fiction has long been a tool to comment on the present, including the relationship between our warriors and our society.  Robert Heinlein’s Starship Troopers was a fascinating depiction of military life as well as what the author saw as a degrading, decaying culture.  The Paul Verhoeven film of the same name, though different in tone, had its own insights into military vulture, including coed showers and a machine gun-packing Doogie Howser.

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Let’s be clear – the upper echelons of Hollywood are dominated by weirdos, losers and mutations.  I’m not judging – I live in LA, so naturally some of my best friends are weirdos, losers and mutations.  I’m simply pointing out a fact.  Most of the normal, hardworking, all-American folks in Hollywood are crew – and they showed it with their heartfelt booing of Michael Moore when he removed the muffin from his pie-hole just long enough to run down our country during the 2003 Oscar ceremony. 

But these great Americans are generally not members of the Academy of Motion Picture Arts and Sciences, and they don’t get to vote for who takes home the Oscar.  People like Sean Penn do.  And Tim Robbins.   And tranny vomit recipient Susan Sarandon.  

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These are the kind of folks who make up the majority of Oscar voters, so it’s no wonder that the Academy Awards show is so often a festival of nitwittery that leaves normal Americans scratching their heads wondering, “Um, what the hell was that?” 

Oscar has more than its share of astonishing failures, of crazy-uncle-locked-in-the-attic nods that the Academy sorely regretted about the time the after-party coke bowls ran dry.  The terrible Oscar choices listed here are only from the last few decades since the sting of choosing How Green Is My Valley over Citizen Kane and The Maltese Falcon has presumably faded since 1941– well, for some of us.  Oh, and you won’t find Marisa Tomei on this list – she rocks.  Deal with that, haters. 

So, in no particular order of insanity, here are Oscar’s 10 biggest recent screw-ups: ]

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[Editor's Note: This list is arranged in no particular order. Read Part I here.]

6.  “Nuclear weapons are awful.” – Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

There are probably a few inventions that have saved more human lives and prevented more suffering than nuclear weapons.  The wars since World War II, when we quite properly dropped two A-Bombs on Japan and ended the slaughter, have been a mere shadow of what they would have been without our thermonuclear arsenal.  That’s just a fact, and all the posturing about the “insanity” of deterrence in this inexplicably beloved movie can’t change that.  You should love The Bomb.

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Of course, Dr. Strangelove provides a better idea than nuclear deterrence by wholeheartedly embracing anti-missile defense.  Nah, just kidding.  The film advocates nothing except ironic detachment, essentially abdicating any responsibility and simply complaining about a strategy that, well, worked.  And let me be blunt – it just doesn’t hold up after all these years.  There, I said it.  Except Slim Pickens – Slim will always rock. (more…)

Selecting the stupidest liberal messages in movie history is sort of like trying to pick the world’s most annoying rapper – the competition is intense.  There are just so many candidates, and they each suck so badly in their own unique way.

Any attempt to pick the worst of the worst is bound to disappoint someone.  This list by no means contains all of the hackneyed, parochial, and just plain obnoxious bits of liberal received wisdom that the Hollywood brain trust has spewed forth over the years.  For every nitwit insight on the list, there are dozens more floating around the nether reaches of Netflix, waiting to annoy the unwary.  No doubt the commenters will find many more.

So, here my top ten in no particular order:

1. “All American Soldiers are psychos.” – Platoon (1986)

It’s pretty obvious that the American soldier is the greatest force for evil in all of human history – or it would be, if all you watched were post-Vietnam War Hollywood movies.  It seems that to most of the hacks in Hollywood, the mere act of donning an Army uniform turns you into a bloodthirsty killing machine with an appetite for murder.  And that’s not just on the battlefield.  In American Beauty (1999), the conservative Marine neighbor not only abuses his wife and son but murders people because he’s secretly gay!  That’s a liberal stereotype trifecta – they probably think it makes him a prime candidate for King of the Tea Party. (more…)