Tag Archives: Hollywood

Comcast NBCUniversal Pulls ‘The Hunt’ Following Mass Shootings, Criticism By Trump

Editor’s Note: Comcast NBCUniversal will not release a violent feature-length “satire” The Hunt, wherein wealthy liberal elites pursue and murder white working class (and presumably Donald Trump-supporting) Christian conservatives for sport.

The decision to pull the film comes in the wake of last week’s Dayton and El Paso mass shooting events, in addition to a barrage of criticism leveled at Hollywood by President Donald Trump on Friday.

“The movie coming out is made in order … to inflame and cause chaos,” Trump asserted on Twitter. “They create their own violence, and then try to blame others. They are the true Racists, and are very bad for our Country!”

The Hunt creator Jason Blum’s gore-filled, politically-themed repertoire includes The Purge film and television franchise. The Hunt is written by Damon Lindelof, the co-writer of The Leftovers television series and a well known figure in Democratic Party circles whose oeuvre has highlighted what he deems the persistent problem of “white supremacy.”

Trump calls ‘liberal Hollywood ‘racist at the highest level’ as a satirical film that depicts liberal elites hunting ‘deplorables’ for sport is set for release

Business Insider
(August 9, 2019)

  • President Donald Trump went after Hollywood on Friday, calling the industry “racist” and “really terrible.”
  • Later in the day, Trump doubled down, calling “liberal Hollywood” racist “at the highest level” and “with great Anger and Hate!”
  • “The movie coming out is made in order … to inflame and cause chaos,” he wrote on Twitter. “They create their own violence, and then try to blame others. They are the true Racists, and are very bad for our Country!”
  • Trump was likely referring to “The Hunt,” a satirical film from Universal Studios about liberal elites hunting “deplorables” from the rural US for sport.
  • Universal Studios pulled TV and digital ads for the film after two mass shootings in Dayton, Ohio, and El Paso, Texas, roiled the country last weekend.

President Donald Trump on Friday went after Hollywood, calling the industry “really terrible” and “racist.”

“Hollywood — I don’t call them elites, I think elites are people they go after in many cases — Hollywood is really terrible,” the president said, speaking with reporters on the White House lawn as he prepared to depart for his golf club in New Jersey.

“You talk about racism, Hollywood is racist,” he added. “What they’re doing with the kind of movies they’re putting out is actually very dangerous for our country. What Hollywood is doing is a tremendous disservice to our country.”

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Arlington Road

1999 Film Portending Today’s “Conspiracy-Fueled Climate”

Editor’s Note: Arlington Road was surely an uncommon Hollywood production in that it addressed “conspiratorial” subject matter, including false flag terror, blackmail by government agencies, the Patriot movement, and pedophilia, all in a not-so-thinly-veiled fashion. The film was developed in the shadow of Ruby Ridge, the Waco massacre, and the Murrah federal building bombing while also eerily anticipating the events of September 11, 2001 and the subsequent culture of paranoia and conspiracy the government response to those events helped shape. Arlington Road was also an artifact examined in James Tracy’s infamous Culture of Conspiracy class, which he taught as a tenured faculty member at Florida Atlantic University prior to being terminated for not reporting his protected speech to school officials posted on this personal blog .

Mike D’Angelo
A.V. Club
(May 15, 2018)

Calling Arlington Road an unsung summer blockbuster admittedly stretches that category’s definition. A political thriller in the Parallax View mold, the film did get a wide release (in July 1999), but it was made for a relatively low budget and boasted decidedly mid-level stars: Jeff Bridges, Tim Robbins, Joan Cusack, and Hope Davis.

Nobody likely expected a box-office bonanza. Still, it underperformed even by that metric, finishing sixth on its opening weekend (even though the only other studio film to bow that week was American Pie), and received largely mixed reviews. In today’s conspiracy-fueled climate, the commercial and critical fate of a movie as deftly engineered and deeply cynical as this one might well be very different.

Bridges plays Michael Faraday, a history professor still mourning his late wife, who’d worked for the FBI and been killed in a Waco-style standoff. Seeking a playmate for his young son, Faraday is happy to meet new neighbors Oliver and Cheryl Lang (Robbins and Cusack), as they have a boy around the same age.

Soon, however, Faraday begins to suspect that this seemingly ordinary, exceedingly friendly couple is harboring some sort of dark secret. Some of the personal information they impart doesn’t check out, and as Faraday starts snooping around and keeping tabs, he discovers more and more discrepancies and inexplicable behavior. Eventually, he concludes that the Langs are homegrown terrorists plotting an attack.

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When Oliver Stone Betrayed ‘JFK’

JFK is among the most important and historically accurate American feature films ever produced. Basing the screenplay on New Orleans District Attorney Jim Garrison’s book, On the Trail of the Assassins: One Man’s Quest to Solve the Murder of President Kennedy, and author Jim Marrs’ Crossfire: The Plot that Killed Kennedy, Oliver Stone’s masterpiece illustrates how deep state power mobilized to subvert Garrison’s investigation of Louisiana-based figures associated with the CIA and November 22, 1963 tragedy. This was a daring and heretofore unsurpassed effort in commercial filmmaking drawing broader historical and political attention to an event that remains obscure and misunderstood.

Yet in the lead up to the film’s release, criticism of Stone from the press and the director’s own Hollywood’s jet set intensified. Fearing continued attacks and potential excommunication from industry peers Stone eventually succumbed. He did so by claiming that JFK was not entirely factual but rather subjective and interpretive in nature–his personal “myth.”

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