WELL! At least she didn’t refuse to bake them a wedding cake!
OK. I’m one of the 300 million Americans and eight or nine billion worldwide who hatewatch the Oscars. I wanna see some beautiful actress almost stumble and fall. I want to see John Travolta so distracted by Jared Leto he introduces singer of the “Frozen” theme as Iwanna Suckyourdick. I watch to see Kim Novak show off her not-so-fantastic drastic plastic surgery. And I want to see this week’s flavors of horrid social crucifixion – trannies and snip jobs – rise up on their hind legs and shout ‘hater’ at…
Elaine Degeneres?!!! Isn’t she a Brillo-bashin’, muff-divin’, cooter-lapper her own self?!!
Oscars host Ellen Degeneres’ performance will likely be remembered for her “selfie” picture with other Hollywood stars. But many activists are livid at the comedian for making a transphobic joke about Liza Minelli, the famous movie and theatre star. In her opening monologue, Degeneres, who is gay, said this to Minelli, who is a gay icon and advocate for gay rights: “Hello to the best Liza Minnelli impersonator I’ve ever seen. Good job, sir.”
Here we have another amusing clash of PC one-ups-manship, of ‘victim, victim – who’s top victim?’ This is something for ‘sensitivity’ bean counters, not me. The Daily Mail – never one to leave a hate-crime boner unyanked – noted the comedian/Oscar host has been accused of ‘transphobia’. If you don’t know what it is, you probably have it.
As a blow for equality, DeGeneres also noted Academy members also either voted for “12 Years a Slave” – this year’s honky-guilt whipping post – or they’re racist. Approving clucks sounded from the Lefty press, lauding her putting IT to the Hollywood Man. But… Sounds more like she was poking fun at the IDEA that a vote for any film other than “12… Slave” would be racist. As I’ve said so many times on this site it’s practically bardo verse, that’s true only insofar as anything white gentiles do is racist, and that’s why the term has lost its social-intimidation juice
~ FEBRUARY ~
Here’s Glass in your eye, you idiotic, robotic simpleton sucker
As I’ve mentioned elsewhere, I’ve been coming off a real thick case of the flu, so I’m not firing on all cylinders. But sometimes a story comes along that you just can’t leavae alone. So, I’ve raised from my sickbed to comment on a target of my hatepox: Google Glass.
Emily Post would wholeheartedly approve of Google Glass’s attempt at imposed decorum, although whether she could have been persuaded to wear a pair of skinny wraparound glasses with an in-built computer is another matter. Spurred by an array of etiquette infractions by users, Google Glass has issued a list of do’s and dont’s for using the new technology to stop you from becoming a “glasshole.”
The advice is littered with such headache-inducing wordplay. “Respect others, and if they have questions about Glass don’t get snappy,” users, or “Explorers,” are cautioned. But snappiness is surely inevitable if every five paces someone comes up and asks you what you’re wearing on your head. Soon, through gritted teeth, you will seethe: “It’s a pair of glasses with a computer in it, over one eye, so I’m always looking a little bit oddly kind of up and to the side. You must have seen the stuff on the news about it. You turn a little dial thing and scroll through stuff, that’s it, can I go to the dry cleaners now. Thanks!”
Oh… fer sure. People will endlessly ponder your need for Cyclopean eye on the world – why you can’t leave a fucking computer long enough to grab a bite, walk your dog or burst into parochial laughter on crowded planes and trains at the latest YouTube your jackass friend has posted on FaceBook. They’ve never heard of Google Glass, since they live in DHS trailers at the bottom of coal mines. And surely they haven’t heard that Glass is currently the most-prominent tech bomb to be unloaded on and relentlessly ignored by a cyber-addicted world.
Underlying message: Google Glass will make even the most furniture-like schlub an object of intense fascination. People will stare, overcome with awe. You’ll be their fetish – totem of an impromptu cargo cult. No longer will you be a lonely pud-puller crying into your blow-up sheep. Kate Upton will offer to sit on your face. Come. Divide the social Red Sea. Step over.
~ JANUARY ~
Why bother with truth when they’re in ‘tag the hater’ mode?
There’s remarkable coefficiency between arrogance and stupidity.
One cheap way to plump up and parade our deep moral insight and sense of justice is to harshly judge a past we’ve neither lived nor adequately examined. Looking back, we lose periphery of history, its context; our study telescopes to conditions and issues that are subjects of our interest. Background and habitat drop away, and in this concentration events and individuals populating them become warped mutation of what they really were. They are magnified or diminished according to our agenda. We cannot fully know the past, nor appreciate its reality, because it’s gone and mostly unrecoverable except in fragments of isolated information. History is as fragile and malleable as tinfoil. We filter the bygone through our contemporary standards only to the extent we’re willing to expose our own insipidity.
Meryl Streep caused eyebrows to raise throughout Hollywood with her appearance Jan. 7 at the National Board of Review awards ceremony at which she attacked Walt Disney as a man who “had some racist proclivities” and “supported an anti-Semitic industry lobbying group and [was] a gender bigot.” Streep, who is starring in the Disney studio’s big-screen adaptation of the musical Into the Woods, which will be released next Christmas, was on hand to present a best actress trophy to Emma Thompson, who plays Mary Poppins author P.L. Travers opposite Tom Hanks’ Walt Disney in Saving Mr. Banks.
Kudos to the Hollywood Reporter for bothering to refute Streep’s stupid charges point by point. Racist definition today: Someone not me or my in-crowd. Anti-Semite definition today: Someone not me or my Jewish in-crowd. “Gender bigot” – Anyone who died before advent of “feminism”, that gift to the world and ridiculous ideology.
Meryl. You’re a genuinely great actress. Now shut the fuck up.
Why bother with truth when they’re already in attack mode?
Of all the year-end retrospectives, best line came on an interminable CNN wrap on 2013 about guilt-refresher “12 Years a Slave” by ‘Jeopardy’ prodigy Ken Jennings: “Hmm. White guilt on a Friday night? I’ll have to work up to that.”
Just about all white America agreed with him, leaving the film – part of a new Mandingo Mayhem revival among filmmakers – about about $38 million since Christmas. For a $20 million movie out amost three months, that’s “laid an egg” even with honest accounting that so frustrates Hollywood. We honkies stayed away in DROVES, and will for any fever-dream plantation expose coming from Tinseltown; a year ago Quentin Tarantino’s “Django Unchained” reaped hit-level returns, but that was with star power of Tarantino, Leonardo di Caprio and Jamie Foxx in the title role.
I’m at Peak Guilt, and turn this shit off now. Hearing someone pontificate about all the travails, real and exaggerated, his conjectured ancestors went through is something for which I no longer have time. “YOU haven’t gone through any of this shit, since slavery has been over for 150 FUCKING YEARS.” We’re to pretend black men in this country are in constant danger from violent white racists. We’re to pretend that whities are cause of every cross minorities carry. This scam has been used to con us into every stupid, insulting social experiment from busing to Eric Holder. We’re done.
And we’re not the only ones. Much talk has been generated over last week’s Film Critics Circle awards, when Harry Belafonte and “Slave” director Steve McQueen (call yourself Steven, fucker, unless you can stunt-drive a Mustang at 85 miles an hour through San Francisco) were heckled by critic Armond White for “white liberal bullshit”, as he yelled it.
“It proves the ahistorical ignorance of this era that 12 Years a Slave’s constant misery is excused as an acceptable version of the slave experience. McQueen, Ridley and Gates’ cast of existential victims won’t do. Northup-renamed-Platt and especially the weeping mother Liza (Adepero Oduye) and multiply-abused Patsey (Lupita Nyong‘o), are human whipping posts–beaten, humiliated, raped for our delectation just like Hirst’s cut-up equine. Hirst knew his culture: Some will no doubt take comfort from McQueen’s inherently warped, dishonest, insensitive fiction…
“Some of the most racist people I know are bowled over by this movie. They may have forgotten Roots, never seen Sankofa or Nightjohn, disliked Amistad, dismissed Beloved and even decried the violence in The Passion of the Christ, yet 12 Years a Slave lets them congratulate themselves for “being aghast at slavery.” This film has become a new, easy reproof to Holocaust deniers. But remember how in Public Enemy’s “Can’t Truss It,” pop culture’s most magnificent account of the Middle Passage, Chuck D warned against the appropriation of historical catastrophe for self-aggrandizement: “The Holocaust /I’m talkin’ ‘bout the one still goin’ on!”
Didn’t hear about this? Perhaps because White is African-American and his points way too salient for our double-talkers to debate.
White, mostly Jewish liberals love to preen about how anti-racist they are – although there are fewer blacks in top-level studio positions than there are in corner offices of any other American industry. In Malibu or in the Hills, there’s little chance of being a “punchout” victim, so they can baste themselves in this questionable nonsense. There’s an easy out to egg-laying status of films like “Slave” – latently racist America isn’t ready for this “honesty”. Honestly? I could give a shit about your sanctimony credentials. Check out this scrutiny of “celluloid vs. the truth”.