Oscars Orwellian Diversity Quota Throws Merit: Devine


Here are the Oscars.Forget the merit, filmmakers will now have to submit their art to Orwellian tests of identity purity to be eligible for the Best Picture award.

In the latest act of cowardly surrender to the BLM-Antifa crowd, the Academy of Motion Picture Arts and Sciences decreed on Tuesday that no film can win the top prize if it does not meet a set of genetically quota and sexually diverse.

For example, the main actors must be from “an under-represented racial or ethnic group. . . Asian, Latinx, Black, Native American, Middle Eastern, Hawaiian or other Pacific Islander. ”

If not, at least 30% of the other cast members must be chosen from at least two of the following victim identities: women, the under-represented racial or ethnic group, “LGBTQ +” and people with disabilities.

Or the Academy dictates the content of the film so that “the main script, theme or narrative of the film” meets the same requirements of intersectionality on gender, race, sexuality and disability.

And that’s just Standard A, one of the four labyrinthine prescriptions for the creation of Academy sanctioned art.

They all read like satire. You need to pinch yourself to make sure you don’t have a dystopian dream.

Even to be considered for the Oscar for Best Picture, a film must meet two of the four required standards.

According to Standard B, “at least two” creative leadership positions, such as director, producer, writer, or cinematographer, must come from a designated victim identity category, with at least one from a racial group. or ethnically favored. Otherwise, at least 30% of the film crew must meet the same politically correct criteria.

Standard C requires “substantial” paid internships and apprenticeships in most ministries only for persons belonging to designated victim categories.

The D standard reaches its tentacles in marketing, advertising and distribution which must also be genetically and sexually diverse.

White, straight, cis gender (as in, have not changed their gender) do not need to apply. Or, at least, not without the filmmaker paying big indulgences to Woke Church.

It is a question of forced self-censorship, as destructive of creativity and free thought as the Stalinist dictates of any communist dictatorship.

Not surprisingly, this came from industry insiders who ordered anti-racist training on “unconscious bias” in June for all Governors and Academy staff, a mass indoctrination that would rot even most independent mind.

The press release summarizing the Academy’s new restrictions, which will take effect from 2024, required 1,000 words to explain. Not a word on artistic quality or, God forbid, ideological diversity.

Imagine layering these tyrannical diktats on top of the already terribly difficult task of finding and funding a worthwhile project that will find a large enough audience to turn a profit.

Film making is fickle at the best of times. During the pandemic, revenues have collapsed and the logistics required to get back on track are daunting. Now Hollywood is volunteering to shoot himself in the foot while on his knees.

Tellingly, there have been few complaints about the Academy’s edict from the besieged community of film artists who cannot afford to be blacklisted if they do. oppose.

“Cheers” star Kirstie Alley was one of the few brave enough to tell the truth, tweeting that the new rules were “dictatorial. [and] anti-artist.

“Can you imagine telling Picasso what must have been in his king paintings? You’ve lost your mind. Control artists, control individual thinking. . .


Of course, she was immediately labeled a “racist” and suffered so much abuse that she deleted the tweet and uttered the required platitudes on “inclusion and tolerance for diversity”.

Artists are meant to be subversive, not to fit into a prescribed utopian fantasy imagined under pressure to appease radicals such as the Marxist and anti-nuclear family, the Black Lives Matter organization which has terrorized the nation for over three years. month.

Last month, BLM co-founder and self-proclaimed “trained Marxist” Patrisse Cullors demanded that Hollywood go on strike to support its anti-police program: “It’s time for talent, writers, executives, the guild and SAG show up for Blacks Live. »

The Academy, Hollywood’s main social compliance mechanism, has recognized the threat. But appeasement never works. All that happens is the demands get more extreme. Just wait for the next set of “directions”. How much pain can you take?

According to the “Get Woke, Go Broke” thesis, the films that emerge from this new system will be terrible and mind-numbing at the box office.

How many award-winning films from the past would not have been selected: “1917”, “The Godfather”, “Casablanca”, “One Flew Over the Cuckoo’s Nest”, “Unforgiven”, “Schindler’s List”, “Braveheart”, “Gladiator “,” American Sniper “,” The Departed “,” Once Upon a Time in Hollywood “,” The Sound of Music “. . . you name it. Certainly not “Gone with the Wind”. We already know that.

Movies are America’s primary cultural product, colonizing minds around the world for nearly a century. The corrosive agitprop will not cut it.

In any case, no one takes seriously the moral posture of Hollywood, when it sold its soul to the Chinese Communist Party, the most repressive racist regime on the planet.

What about Disney’s closing credits for Mulan last week, with its “special thanks” to a “public security bureau” in Xinjiang, where 1 million Uyghurs are in concentration camps?

Really? As Professor Jordan Peterson said, clean your room first.

Irrational ‘rage’ in Don

The Washington Post selectively armed Bob Woodward’s new book, “Rage,” against the president, to blame him for the pandemic, along the lines of attack of the Joe Biden campaign.

The charge is that Trump told Woodward he knew in early February, before the first death from the US coronavirus, that the disease was dangerous, but decided to “play it down.” Invite the White House press corps to find out why Trump “lied” to the American people that the virus was “under control.”

Trump’s response is reasonable.

“The last thing you want to do is create panic in the country,” he told reporters yesterday. “A terrible situation [was] imposed on us. . The last thing we can show is panic, excitement, or fear. We had to take care of the situation.

He was acting at the time. Against protests from the World Health Organization and the advice of White House experts, he issued the crucial Jan.31 order to close the border to “a very heavily infected China” and place US citizens in return from Hubei province to compulsory quarantine.

Biden accused Trump of “xenophobia”.

It’s easy to be a Monday morning quarterback, but if Democrats insist on politicizing the pandemic, two can play that game.

For example, instead of closing the metro, Bill DeBlasio in March was still pushing people to come to the city. “For the vast majority of New Yorkers, life is going pretty normally right now,” he said on March 10, the day of the first confirmed death from coronavirus. “We want to encourage this.”

Nancy Pelosi did the same in San Francisco’s Chinatown on February 24, urging people to “Come on. . . everything’s going good here. It was a performance art to upset Trump and portray Trump as a racist for the travel ban and the use of the term “Chinese virus.”

Governor Cuomo was the worst. “Excuse our arrogance as New Yorkers. . . we don’t even think it will be as bad as in other countries, ”he said on March 2.

Three weeks later, he released his ruthless directive to force nursing homes to admit patients infected with COVID, resulting in the deaths of thousands. New York has the highest death toll from COVID in America – over 33,000 – as a result.

Now the “granny killer” Cuomo is trying to blame Trump. But no one is buying it.


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