Despite the insistence of clueless reporters like Patrick Goldstein, there is a Hollywood blacklist. Discrimination does exist. Goldstein doesn’t live the day-to-day life inside the studios, although he probably wishes he did. I’m sure he just takes the word of his sources — which are likely Liberals.

Simply put, if you are a Conservative, you are at the very least derided and, in some cases, prevented from being hired. I’ve heard and seen enough stories in my time to know this blacklist exists. The trouble with Hollywood, however, is that it does not do business the way the rest of the world does. It is much easier to prove discrimination in the real world because various employment protocols must be followed. In Hollywood, however, business is done in loosey-goosey fashion for a simple reason: nobody wants to be held accountable. If you are held accountable, you may lose your job, and you may never work again.

With Hollywood discrimination, it’s easy to avoid being held to account. You just say, “He was fired because he was unprofessional”. You say, “Her writing wasn’t good enough for the show”. You say, “He didn’t mesh with the other writers”. You say, “She was a disruptive presence on the set.” Because there are no codified standards, the reason for one’s employment or lack thereof are simply left to the whims of those in charge.

And those in charge are Liberals. And Liberals, as we know, despise Conservatives.

That is why Conservatives in Hollywood live in even greater fear than any other employee. In Hollywood, anyone can perform their job perfectly and still get fired. However, if one Liberal and one Conservative each performs their job perfectly, and one must be fired, the Conservative is the one who will be shown the door.

It’s time to expose the discrimination that exists in Hollywood, and shine the cold light of reality on the Liberals who pay lip service to tolerating all points of view.

(more…)

This one goes out to New Blacklist-denier Patrick Goldstein of the L.A. Times….

PopEater:

Known around left-leaning Hollywood for her conservative stances on weighty issues like abortion and stem cells, ‘Everybody Loves Raymond’ star Patricia Heaton is happy to explain how important her Christian faith is to her and how it shapes her views and career choices. …

Telling me that she has many gay friends and doesn’t oppose gay marriage, Patricia gets frustrated being automatically lumped together with other conservatives, a characterization she says has cost her possible work.

“We know for a fact there are some people who have said they wouldn’t want to work with us because of our politics,” she said, with her husband David Hunt adding, “We get lumped in with lunatics.”

Who but the worst kind of ideological bigot wouldn’t want to work with Patricia Heaton, one of the most talented actresses to ever star in a sitcom? If an iconic Emmy winner is losing work over her perfectly reasonable right-of-center political positions, what’s life like for those just trying to break in or the 99.7% who live hand-to-mouth in this business of show.

(more…)

Patrick Goldstein, the Minister of Hollywood Disinformation at the L.A. Times, is obsessed with convincing you that leftist dominance of Hollywood is a whiny conservative myth. Big Hollywood’s indefatigable John Nolte, among others, has taken down Goldstein in numerous columns on this topic, but like an ideological Terminator, Goldstein keeps coming back.

But this time he ratcheted things up a few notches. His first column immediately following the most recent Oscars telecast was not just another pooh-poohing of the liberal bias stereotype, but an assertion that the Oscars actually proves the reverse.

Patrick Goldstein

Witness his eyebrow-raising title: “‘The King’s Speech’: The Triumph of Hollywood Conservative Values.” Wow. Not only is conservative griping about Hollywood unjustified, but we have in fact triumphed. Culture war over, people. In your face, Matt Damon! Don’t let the screen door hit you on your way out, Sean Penn!

The article begins, “[I]t’s become an article of faith in Conservative America that Hollywood is a ‘collection of hopeless la-la-land liberals — or worse, an elitist gaggle of heartland-bashing snobs.’” Notice how Goldstein refers to it as an “article of faith,” as if this perception of Hollywood is not based on evidence but is as insubstantial and unprovable as the existence of God. After all, how else could Conservative America possibly have ever gotten such an impression? (more…)

No more than three weeks ago, 17 days to be exact, Hollywood’s favorite overrated, race-obsessed, ex-scientologist Oscar-winner, Paul Haggis, raised the bloody shirt of the dreaded Hollywood blacklist of the 1940s and ’50s … again. For those of you might have missed one of the annual offerings from Hollywood’s self-referential masturbatory genre of films covering the blacklist, essentially what happened is that for a time entertainment professionals were denied employment based on real and perceived communist sympathies. A terrible thing to be sure, but not so terrible for today’s communist sympathizers who, for seven decades now, have lovingly fed, pruned and cared for this unfortunate era of Hollywood history in order to grow it into a Mighty Oak of Indignation. After all, how else would today’s Hollywood — the wealthiest, freest community of artists in the history of the world – feel the moral superiority that comes with being oppressed were it not for a scandal old enough to collect Social Security?

The irony of this, of course, is that the situation is now reversed. The only thing today’s Hollywood Left learned from the original blacklist was how to blacklist better. They leave no fingerprints today. There’s nothing official, there’s no list, so there’s no way for anyone to get caught. At the very least, The Hollywood Ten understood what had happened to them. There was a list, they were on it, and so they could work around it with the use of pseudonyms until the storm passed. Today’s Hollywood Blacklisters are shrewder and much more insidious. Their blacklist is an unspoken social one. There’s nothing official to tell you why the phone stops ringing.

The worst part is that those on this awful list aren’t even looked at as victims (not that they want to be). As we’ve documented ad nauseum, the entertainment media is a willing participant in the blacklisting of those who don’t conform to their political beliefs. Anyone who dares mention that it might not be the best career move to take the other side of a Global Warming debate in a production meeting or by the craft services table, is immediately pounced upon as a talentless, hasbeen, paranoid whiner by no less than Patrick Goldstein at the L.A. Times, among others. (more…)

And herein lies my real problem with NBC/MSNBC. What Keith Olbermann does as a private citizen and with his own money should be the least of  NBC/MSNBC’s concerns. But they are so delusional over there that they’ve convinced themselves that a two day suspension over a few thousand dollars in private campaign contributions will in some way bestow “journalistic integrity” on the very same network that would seek to legitimize a racist leftist like cartoonist Ted Rall, who is now openly calling for a violent revolution to overthrow the American government and put a stop to the Tea Party. 

“Are things in our country so bad that it might actually be time for a revolution? The answer is obviously ‘yes.’”

That’s not a Ted Rall statement, that’s MSNBC anchor Dylan Ratigan. As you watch the video below, imagine the (justifiable) uproar had those words come from a Hannity or Beck in the same context as this — an interview with a right-wing extremist calling for violence against his political opponents:

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For those of you not familiar with Rall, he’s a witless, radical left-wing editorial cartoonist who’s probably most famous for his inability to draw, but thanks to the venomous left-wing viewpoints he holds, he’s enjoyed an incredible amount of mainstream success. According to his own site, the same cartoonist who called Condi Rice a “house nigga” and is now calling for organized violence in order to “bully” his insidious left-wing worldview on the rest of us, “now appear[s] in more than 100 publications around the United States, including the Los Angeles Times, Tucson Weekly, Willamette Week, Newark Star-Ledger, Village Voice and New York Times.”

Here’s an excerpt from his new book, “The Anti-American Manifesto”: (more…)

Patrick Goldstein of the L.A. Times proclaims, Ignorance should be a punch line. Identity should not:

 Ignorance should be a punch line. Identity should not. Humor can be a tricky thing to analyze and can be easily (and lazily) defended against criticism by saying “it’s just a joke.” Vaughn himself, when defending this line in his film, said “Comedy and joking about our differences breaks tension and brings us together.” And while Vaughn is wrong about the joke in his movie accomplishing this end, “The Office” is a perfect example of humor getting it right.

“The Dilemma” is hardly the first movie to use the word “gay” in this way, but it has come along at a watershed moment in our culture. Hearing one’s very identity regularly used as a synonym for “inadequate” or “undesirable” on a daily basis does more than just hurt feelings. Recent events have made it abundantly and tragically clear the effect that anti-gay language and attitudes can have on young people who are gay or are perceived to be gay AND on the bullies who target them.

Would it change hearts and minds if Howard had made the decision to pull this line from the film? Would bullies suddenly realize the harm their behavior was causing and stop tormenting their victims? Would spontaneous hugging break out in the hallways of America’s schools? Of course not. But it would create a tiny space in our culture -– a window in which people could draw their own conclusions about what it means to be gay, without being told it’s something negative.

(more…)

“What would you like to see change?”
“The current administration!”

Below you’ll find a few choice snips from Mike Appelstein’s terrific interview with The Velvet Underground’s Maureen “Moe” Tucker, who disappointed aging left-wing hipsters everywhere when she dared step off the artistic thought-plantation to take a controversial stand against socialism. Prepare to fall in love. Like all the tough, smart women on our side, Tucker is informed, outspoken, articulate, and puts the awe in awesome.

I’m going to take things a little out of order to allow Tucker to address her despondent ”fans” first:

What are your feelings about the online reactions [to you being a Tea Partier]? Many people seem upset or outraged.

I’m stunned that so many people who call themselves liberal yet are completely intolerant. I thought liberals loved everyone: the poor, the immigrant, the gays, the handicapped, the minorities, dogs, cats, all eye colors, all hair colors! Peace, love, bull! Curious they have no tolerance whatsoever for anyone who doesn’t think exactly as they do. You disagree and you’re immediately called a fool, a Nazi, a racist. That’s pretty f’d up!! I would never judge someone based on their political views. Their honesty, integrity, kindness to others, generosity? Yes. Politics? No!

Musician or not, one of the first things you learn when you cross over into the light from the darkside is that conservatives were much nicer to you when you were a liberal than liberals are to you when you’re a conservative.

Anyway, before I turn you over to Moe, let’s all take a moment to wish Patrick Goldstein – the blacklisting bully of the L.A. Times – best of luck when it comes to diminishing  this resume… (more…)

A good argument can be made that the period 2000-2009 was the single worst decade for movies in Hollywood history. Unfortunately, judging by what we’ve seen so far in 2010, the next decade could conceivably dip even lower into mediocrity. Over just the next three months, theaters are set to debut yet more anti-conservative rewritings of history, yet more anti Prop-8 propaganda masquerading as entertainment for the masses, yet more heaping piles of torture and snuff porn, and much else that looks eminently skip-worthy.

So what’s left for those of us looking for things like stirring heroism, rousing action, and solid family-friendly entertainment? If you had to pick five films appearing between now and the end of the year that look decent enough to take a chance on, what would they be? Here’s my shortlist, sorted by release date:

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YouTube -- click here to watch in full-screen

Red (October 15)

A blissfully silly, cartoonishly hyper-violent trailer. A formidable array of talent seeming to have the time of their lives as they chew up the scenery, with normally stately and self-serious Oscar-winners like Helen Mirren and Morgan Freeman hamming it up next to Bruce Willis and John Malkovich. A premise that sounds something like Spy Kids for adults. Sounds good to me. (more…)

Patrick Goldstein and much of the butt-boy entertainment media have either outright ignored director Oliver Stone’s anti-Semitic comments or have dug a deeper hole for their credibility in attempting to explain why they shouldn’t have to hold their favorite anti-American director to the same standard as the director of the “The Passion of the Christ” after his 2006 incident. Unfortunately for them, this ploy might not be working. According to some excellent reporting in The Wrap, media mogul and Clinton confidante Haim Saban is showing some moral consistency, and he’s claiming that WME Chairman Ari Emanuel is as well.

Like the Anti-Defamation League, Saban is far from satisfied with Stone’s “clumsy association with the Holocaust” apology, calling it “sooooo transparently fake.” And as a money-where-his-mouth-is supporter of Israel, my guess is that Saban’s taking issue with all this crazy talk coming from Stone about how his January miniseries will prove Hitler was a “scapegoat” who deserves to be put in “context.”

A furious Haim Saban has mounted a campaign to get Showtime to cancel its planned airing of Oliver Stone’s 10-part series, “A Secret History of America,” in the wake of anti-Jewish remarks by the outspoken director.

(more…)

Pop quiz: what do the following movies have in common?

Gone with the Wind (1939), Star Wars (1977), The Sound of Music (1965), E.T.: The Extra-Terrestrial (1982), The Ten Commandments (1956), Titanic (1997), Jaws (1975), Doctor Zhivago (1965), The Exorcist (1973), Snow White and the Seven Dwarfs (1939), 101 Dalmatians (1961), The Empire Strikes Back (1980), Ben-Hur (1959), Avatar (2009), Return of the Jedi (1983), The Sting (1973), Raiders of the Lost Ark (1981), Jurassic Park (1993), The Graduate (1967), Star Wars: Episode I — The Phantom Menace (1999), Fantasia (1941), The Godfather (1972), Forrest Gump (1994), Mary Poppins (1964), The Lion King (1994)

If you said they all made scads of money, bravo — they are the top twenty-five domestic box-office champions of all time (adjusted for inflation, of course).

But consider another similarity: surprisingly few of them relied on established A-list movie stars — the most famous, the highest paid — for their moneymaking prospects. Gone with the Wind had Gable, yes. The Sting had Newman and Redford. The Godfather, Brando.

As for most of the rest, they either featured no A-listers at all, or used them before they became bonafide movie stars. In fact, many of those pictures can take credit for sending now-famous actors into the celestial Hollywood firmament in the first place. Gone with the Wind made Vivian Leigh known to the world. The Ten Commandments did it for Charlton Heston. The Graduate, Dustin Hoffman. The Godfather, Al Pacino. Star Wars, Harrison Ford. Mary Poppins, Julie Andrews. (more…)

Comprehending the work of a propagandist is nearly impossible. Since their goal is the opposite of trying to enlighten, there’s never any logic behind the words. Instead, the goal is to obscure and deflect in the hopes that The Lie being told is highlighted and can come across as some sort of scholarly conclusion now that it’s been buried in a whole lot of meaningless words. Patrick Goldstein, Hollywood’s chief leftist enforcer at the L.A. Times, has just created yet another perfect example of this (and why the financially troubled newspaper has been reduced to the size of a dinner menu).

Goldstein’s editorial mission — his specialty at the high-profile perch — is poaching from another news outlet any story that disrupts the Leftist Hollywood narrative. If the story makes Hollywood look bad or risks damaging the industry in any way, Goldstein’s job is to twist it around in the hopes of changing the narrative into what Hollywood wants to hear.

If you recall, just this last month, Goldstein did exactly this with a Wall Street Journal profile of musician Jonathan Kahn. Nowhere in the article did Kahn claim his right-of-center politics had ever hurt his career, and yet in an attempt to paint him as a whiner, Goldstein told all of Hollywood he had. Worse, in a conscious effort to portray Kahn as a no-talent has-been, rather than mention Kahn’s long, successful relationship with a Grammy-winning producer (which made up a large part of the WSJ profile), Goldstein ignored it and instead Googled up some old credits of Kahn’s in order to present them as though they were Kahn’s entire resume. (the hard-left film site Movieline soon followed suit.) (more…)

For over a year, Big Hollywood contributors have been documenting Hollywood’s intolerance towards all things conservative — both when it comes to our ideas being given a fair shake in the industry’s product and, most importantly, the intolerance towards individuals whose beliefs stray from the liberal plantation. Again and again, people have come to us to share the stories of how their social and political beliefs hurt their show business careers in ways both big and small. And to their great credit, most of these individuals have said so on the record; with their names and faces prominently displayed in the upper left-hand corner of their Big Hollywood testimony.

Without fail, every single time someone tells their story here, the insulting snark hits from every corner of the web, dismissing out of hand our ever growing list of witnesses to this new blacklist. Sure, the Gawkers and the Farkers are entitled to their fun. They peddle in shallow superiority and there are plenty of buyers. Welcome to Al Gore’s creation.

Lately, however, Patrick Goldstein, a film writer at the L.A. Times, has been taking his own partisan shots. Tuesday, after Jonathan Kahn came out in the Wall Street Journal, there was this:

[I]t’s seems like quite a stretch to say that Kahn’s politics have held him back. But that’s what all too many conservatives do. They put the blame for their stalled careers on liberal Hollywood, when lack of marketable talent might be a far more likely source for the problem.

What’s curious about this argument regarding Kahn needing “marketable talent” is how Goldstein willfully ignored this part of the WSJ story:

One person stunned to hear of Mr. Kahn’s double life as a tea-party troubadour is top Hollywood record producer and Grammy Award-winner Walter Afanasieff. The two have worked on projects for years and are now midway through writing and producing an album for a young singer.

(more…)

After news broke of fugitive child rapist Roman Polanski’s second accuser, the L.A. Times’  Patrick Goldstein wrote the following:

As an admirer of his work, I’ve tried to see things from Polanski’s point of view in the past, but if these charges turn out to be true, it would be harder than ever to defend him. Once burned is twice shy. 

What a relief to know Goldstein draws the line somewhere. But he’s not alone. Here’s Jeff Wells:

Well, I guess things don’t look so hot right now for the “let it go because Roman Polanski is an art god” argument, do they? Yes, I’ll admit it — the indications are damning.

I’m confused. Are you confused?

What about “Rosemary’s Baby?”

Polanski drugs, rapes and sodomizes a thirteen year-old girl and then flees justice. Then these two — and many others like them — give Polanski a pass because he’s such a OhMyGawdHesSoAwesome filmmaker. I assumed this was due to Polanski helming “Chinatown.” (more…)

Over the last forty years, leftism has failed in every particular but one:  it has succeeded in demonizing the opposition.

Leftists will blacklist you—then if you complain, they’ll attack you for whining.  They will call you racist and compare your leaders to Hitler—then if you return the insult, they’ll scream about the decline of civility.  They will do everything in their power to cut you off from media and artistic outlets—then when you create outlets of your own they will savage them for their bias.  Like the mobster in a Raymond Chandler novel, they will beat your teeth out, then kick you in the stomach for mumbling.

As a result of their success in marginalizing dissenting opinions, nothing now creates a greater commotion in modern American discourse than speaking the obvious truth.

Last week during a stop in Washington DC, I gave a five minute interview to an extremely nice reporter named Peggy Star from CNSNews.  I pointed out that, while leftists speak their political minds openly and aggressively in Hollywood, conservatives are forced to meet in secret and speak in whispers to avoid insult and tacit blacklisting. (more…)

The liberal reactionaries are in full hissy-fit mode at Big Hollywood for its latest heresy, calling out Glee for its gratuitous – and worse, unfunny – slam on Sarah Palin as “stupid.”  Apparently, pointing out hackneyed liberal sucker punches lurking within tiresome TV shows is yet another cruel assault upon the helpless Hollywood community of visionary artists who only seek to help enlighten and uplift us unedu-makated, tea-partying, gun n’ religion-clingers dwelling in that small, backward portion of America located east of I-5.

Big Hollywood hater Patrick Goldstein of the Los Angeles Times jumped right into full “gotta defend our pals in the Industry” effect with a hysterical (in both senses of the word) counterattack supporting Glee creator Ryan Murphy.  The LAT, for those not residing here, is a small, local pamphlet of uncertain financial stability which recently reduced the physical size of its dead tree edition to about that of an Applebee’s menu.  Its innovative marketing strategy of providing its dwindling readership with even less content for their money has somehow failed to halt its downward spiral toward Chapter 11. (more…)

Adam McKay co-wrote and directed “The Other Guys,” an action comedy which stars Will Ferrell and Mark Wahlberg. The summer tentpole hits theatres August 6th and thanks to the Entertainment Media, buzz is already starting to build. Here’s a look at the trailer:

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It sure has the feel of a fun time at the movies; another one of those high-lariously self-aware action comedies with our man-child protagonist over his head in a crazy story filled with bullets, car chases and that all-important zaniness.

Gee, the critics sure are excited, too. Why, from the trailer alone, ScreenRant is already hyping a Will Ferrell/Adam McKay comeback:

From the looks of it, The Other Guys may be just what the pair needs to get moviegoers back on their side after that flop of a remake [Land of the Lost]. While the story sounds like a mix between Lethal Weapon and the most recent Get Smart, everything we’ve seen to this point lends itself to a great comeback.

Over at the L.A. Times, our buddy Patrick Goldstein’s so bowled over he compares the screen chemistry of Ferrell and Mark Wahlberg to the all-time classic cinematic buddy-cop pairings: (more…)

My most recent piece on child rapist Roman Polanski and the Hollywood toadies who adore him has been taken to task in a recent blog by L.A. Times writer Patrick Goldstein.

Count Mr. Goldstein as one of the Polanski toadies. Let me begin by giving you a little insight into Mr. Goldstein’s personal morality. He’s views the drugging and rape of a 13 year old as a “personal transgression.” As my regular readers know, I am a self proclaimed “rube” who lives out in the culturally barren wasteland know as the Midwest. Out here where we lack the gravitas of those Hollywood newspaper types, a “personal transgression” is when you bump into some coming out of church on Sunday. You say “excuse me” and go home and not to the south of France for thirty years to avoid the consequences of your actions.   

Here, the drugging and raping of a child is the kind of thing that gets you shot by an angry father and gets him exonerated for justifiable homicide whether the rapist made great films or worked at the feed and grain.

Goldstein also criticizes me when he says I “barely bother[ed] to take umbrage with Polanski.”  He could be right on that. I only directly called him a pedophile and a cockroach by inference. Maybe in Hollywood those are seen as accolades, but again where I live that kind of talk might get you an ashtray in the eye at the local bar. (more…)

Over the past 15 years or so our side has done a truly fantastic job outing the mainstream media as the corrupt leftist propagandists they are. As a business model they’re nearly bankrupt and the stigma of dishonesty they’ve worked so hard to earn in their kamikaze missions for the Left has pretty much ended their national influence.

As bad as the MSM is though, the entertainment media is much, much worse. Just the other day someone asked me where they could find a left-wing film site. Without a hint of irony, I replied, “Any film site that’s not Big Hollywood.” If someone would simply enforce California’s laws against incest we could easily put this disgusting pile of unholy inbred love out of business. Unfortunately, that’s not going to happen. And maybe that’s good thing. Without them, where would we get our chuckles?

Today’s hilarity arrives courtesy of this L.A. Times Big Picture blog sporting the following headline and intro: (more…)

First off, kudos to Patrick Goldstein at the L.A. Times who yesterday proved capable of criticizing Big Hollywood without making a whole lot of stuff up. We trust and hope this is the start of a new relationship, a turning over of a new leaf… 

Bygones Patrick, and Happy Thanksgiving.

Not to steal any of Big Government’s thunder, but in that massive ACORN dumpster dump a Leftist Decoder Ring was found that translates Left-speak into what the rest of us call The Truth. Mike Flynn was kind enough to let me use it in order to translate Goldstein’s write up…

Goldstein: It used to be the liberals who loved to play the victim. But now it’s conservatives who just can’t enough of that warm and cuddly feeling of being an oppressed minority.

Decoder Ring: Uh,oh, they’re starting to fight back. (more…)

The other day, the L.A. Times’ Patrick Goldstein responded to this post of mine with a beauty of a headline: 

“New Muhammad biopic drives the anti-Hollywood crowd nuts” 

You know, sometimes you just have to put politics aside and take a moment to admire the tactics of your opponents, because no matter how you slice it, that is one gorgeous humdinger of a headline.

At a glance, the headline intentionally furthers the whole “conservatives are intolerant” narrative with the inference that I somehow have a problem with a big-budget biopic about the prophet Muhammad. Later in his piece, Goldstein doubles down on that smear with this:

But as usual, the news has aroused a storm of derision from conservative bloggers, who always find a way to be offended by any high-minded Hollywood project.

Odd… Especially when the very first sentence – the opening line — of my piece says the exact opposite: (more…)