James Gunn torpedoed his Disney career: A lesson for social-media busybodies

James Gunn THR

Hollywood director James Gunn was fired last week after conservative activists consolidated and posted his long history of rape and pedophile “jokes,” in addition to tweets that were shocking for the sake of being shocking.

James Gunn tweet

The interesting thing about Mr. Gunn’s “jokes” is that guys like me would not have been aware of them had he not been the kind of person who climbs upon a moral pedestal to lecture President Trump and Roseanne Bar about “abhorrent” rhetoric.

James Gunn Rosanne

The rise of internet busybodies who destroy careers by spotlighting a single tweet can be traced to left-wing ideologues — often times guys like Patton Oswalt — who are furious that their Frankenstein monster has turned on them.

Patton Oswalt tweet

The commander in chief must be intellectually flogged for lewd comments he made about women many years ago, but Mr. Oswalt is now upset that a sustained flow of pedo and rape “jokes” by Mr. Gunn resulted in his termination from Disney.

Strange.

James Gunn tweet 2

What makes the situation more pathetic is that a large population on social media see nothing wrong with his “jokes.” Mr. Gunn deleted at least 10,000 tweets in a very short amount of time to cover up his disturbing behavior (as a 40-year-old man, mind you), yet many observers think Disney should have yawned and said, “Move along. Move along. Nothing to see here.”

DTE on Gunn

The lesson of the day: Don’t go finger-wagging at politicians and fellow entertainers about “abhorrent” rhetoric if your past includes many years worth of sexual jokes about minors. That seems like it would be common sense, but then again common sense is in short supply as of 2018.

If you’d like to hear my full thoughts on Mr. Gunn’s firing, then feel free to check out my recent live-stream with the multi-talented Brett R. Smith. We wrap up the discussion with commentary on his latest project with artist Timothy Lim and writer Chuck Dixon: Trump’s Space Force.

You can check out the Indiegogo campaign here.

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Last Jedi: Rian Johnson’s middle finger chin scratch to confident men

The Force is Female Kathleen Kennedy

One of the cool things about YouTube is that you never know when a video is going to hit a nerve. I recently saw Star Wars: The Last Jedi, and then posted my review. The post racked up over 50,000 views and roughly 2,000 comments in one week.

Here’s the abridged version for those who are in a hurry: Director Rian Johnson has given generations of fans a giant “middle finger chin scratch.”

If you want to see male characters get emasculated in a $200 million commercial for producer Kathleen “The Force is Female” Kennedy’s political agenda, then see it soon.

If, however, you want to see a product that honor’s George Lucas’ original trilogy, then you should avoid Last Jedi at all costs.

Below are my latest YouTube uploads on the movie, although you can head on over to Conservative Book Club if you want a more traditional review.

NOTE: There are SPOILERS in all of my videos. You have been warned.

Next up is my video titled: “Last Jedi: ‘Milking’ Luke, ‘leaking’ Fozzi Finn not in trailers for a reason.

Finally we have my two-hour live-stream on “sellout critics, spin doctors and more.”

Remember: Star Wars: The Last Jedi apologists say this guy has no agenda…

Rian Johnson Feminist Agenda

Thor Ragnarok: Chris Hemsworth parodies Chris Hemsworth playing Thor

There will come a time many years from now when film historians will analyze Marvel Studios, and some of them will rightfully conclude that Thor: Ragnarok won over critics and fans despite its forgettable script. Producers gave the world a $180 million stick of cinematic bubble gum and the world cheered.

Once upon a time, superhero fans watched Thor movies in which actor Chris Hemsworth and his supporting cast attempted to channel literary classics like Beowulf. Director Kenneth Branagh infused Thor (2011) with tinctures of Shakespearean tragedy, while Alan Taylor churned out similar work on Thor: The Dark World (2013).

All that is over with the arrival of director Taika Waititi, who has the first “family-friendly” Marvel Studios/Disney movie that drops an “orgy” reference into a scene involving the cosmic equivalent of billionaire Jeffrey Epstein’s infamous “Lolita Express.”

Thor: Ragnarok is essentially two movies mashed into one. Half of Ragnarok involves a ancient prophecy in which Asgard is captured by Thor’s sister Hela (Cate Blanchett) and ultimately destroyed by a giant demon named Sutur; the other half deals with an exiled Hulk (Mark Ruffalo) fighting as a gladiator on a planet ruled by Grandmaster (Jeff Goldblum). The god of thunder and his brother Loki (Tom Hiddleston) end up stranded on the planet as well, but they soon find a way to escape through “The Devil’s Anus.”

The two brothers are helped along the way by a disillusioned Valkyrie (Tessa Thompson), and the whole thing is tied together by a series of jokes that often follow (i.e., undermine) dramatic scenes.

In short, Ragnarok is a film that doesn’t take itself seriously — even as it sometimes asks the audience to do so. It is a movie that is seemingly so terrified of being parodied at the MTV Movie Awards that it decided to deny them the opportunity. Chris Hemsworth, at times, seems as though he’s parodying himself playing Thor. Potential moviegoers simply need to imagine a Batman movie in which the actor was required to alternately channel Joel Schumacher’s notorious Batman Forever (1985) and Christopher Nolan’s The Dark Knight (2008).

“Even when you had two eyes, you still only see half the picture,” Odin (Anthony Hopkins) says to Thor during a near-death experience. “Are you ‘Thor, the god of hammers’? Hmmm? That hammer is to help you control your power — focus it. It’s not your source of strength. […] Asgard is not a place, never was. This could be Asgard. Asgard is where our people stand. Even now — right now — those people need your help.”

“I’m not as strong as you,” Thor replies.

“No. You’re stronger,” says Odin.

The exchange is meant to be poignant, but it comes after nearly two hours of improv and slapstick comedy — it’s hard to appreciate Hopkins’ turn as Odin when the audience is still wondering how a thinly veiled masturbation joke involving Thor’s hammer made it into the finished product.

The question that fans of the genre need to ask themselves after the joke-a-minute Guardians of the Galaxy: Vol. 2 and now Ragnarok is this: If a superhero movie struggles not to inject a gag of some kind into every heartfelt moment, then what does it say about the audience? What does it say about our culture?

If you’re looking for a Marvel movie that most closely resembles Ace Ventura: Pet Detective (1994), then run out an see Ragnarok before it leaves theaters. If you expect your god of thunder to possess a Game of Thrones gravitas, then stay far away.

Editor’s note: Check out my “Thor: Ragnaflop?” live-stream if you want to hear almost two hours of Thor-talk.

‘Spider-Man: Homecoming’ saves Sony’s bacon (just don’t you dare mention the writer’s ‘slavery’ sucker punch)

There are times when I wish that I never made the leap to YouTube and instead stayed on my little old blog churning out content for people who understand things like nuance. My reaction to Spider-Man: Homecoming highlighted that fact quite nicely yesterday.

Your friendly neighborhood blogger said that he loves the movie and wants people to see it, but that a weird scene involving “MJ’s” comment on slavery was a social justice-y sucker punch out of nowhere. I then used that scene to discuss real-world “MJ’s” populating college campuses and influential circles of activists across the nation.

Translation:Doug is an SJW! Doug is triggered! Doug can’t enjoy anything that includes a whiff of SJW politics.”

Sigh.

Below are my videos on the old web-head’s return to the big screen. As always, if you enjoy the content then be sure to subscribe. And if you too think I’ve gone full “SJW” then go for it in the comments section. Let me know! I find this conclusion fascinating.

Here is the full review with one major spoiler for those who haven’t seen the film.

Amy Pascal officially Kevin Feige’s Mephisto with MCU blindside, proves this blog’s 2015 warning prescient

Kevin Feige
The world is only days away from Spider-Man: Homecoming, but the Spidey buzz got real over the weekend when Sony Pictures producer Amy Pascal blindsided Marvel Studios President Kevin Feige during a promotional event. She directly contradicted previous statements by Mr. Feige that Sony’s “Venom” and “Silver & Black” (Silver Sable and Black Cat) would not be connected to the MCU.

Ms. Pascal said:

“Well, those movies will all take place in the world that we’re now creating for Peter Parker. They’ll all be adjuncts to it. They may be different locations, but it will still all be in the same world. They will all be connected to each other as well. […] There’s a chance [Tom Holland will appear]. There’s always a chance.”

The look of utter disbelief on Mr. Feige’s face — and one monstrous swallow — are proof that he severely underestimated how devious the woman can be.

It also proves that Mr. Feige would be wise to take some advice from yours truly, perhaps the only one who warned that his “deal” with her to get access to Spider-Man was his very own “One More Day” moment.

Yes, that’s right, Amy Pascal is Kevin Feige’s personal Mephisto.

Mephisto Amy Pascal

I wrote on Feb. 10, 2015:

“Question: Will Amy Pascal become Kevin Feige’s Mephisto? […] It will be a sad day if Kevin Feige’s name is attached to future Spider-Man failures because of Amy Pascal’s intransigence. While Spider-Man fans should be thrilled that the character will show up in future Marvel Studios movies, they should seriously ask themselves if Marvel made a deal with the devil when total victory was within reach.”

Marvel Studios had Sony on the ropes. Through Sony’s own moronic moves under Pascal’s leadership, the studio ran its reputation into the ground. And while it’s great that the world will now see Spider-Man in the MCU for Avengers: Infinity War, there is no doubt that individuals like Ms. Pascal are petty, vindictive, and untrustworthy.

The Sony hacks by North Korea demonstrated it, and the point was hammered home further by the viral video.

The good news is that Kevin Feige is about 10,000 times more intelligent than anyone at Sony. He will likely come out on top in the end. The bad news is that Sony’s suits know this and will subject Marvel Studios to all sorts of public and private pain for the ignominy of taking orders from their betters.

Cross your fingers that Spider-Man: Homecoming isn’t a train wreck, but if it is then just watch this video with Ms. Pascal to remind yourself who is to blame.

Wonder Woman: Patty Jenkins nails the directing, Gal Gadot nails the role

Last weekend I made the mistake of not reserving my movie tickets for Wonder Woman ahead of time and ended up having to decide whether I wanted to see a later showing or go home. I opted for an extra hour’s wait — and it was worth it.

Here is what I wrote **pseudo-spoilers ahead** for Conservative Book Club:

Director Patty Jenkins can make a strong case that she had one of the most pressure-packed Hollywood tasks in recent memory — making Wonder Woman a blockbuster for Warner Bros. She needed to please fans of a character with over 70 years of history while overcoming doubts about the direction of the DC Extended Universe and Gal Gadot’s acting.

Mission accomplished.

Wonder Woman, much like Joe Johnston’s Captain America: The First Avenger in 2011, was the kind of job where studio executives pull one off to the side and say, “Good luck, but don’t you dare screw this up.” Ms. Jenkins, like her creative peer, responded by churning out an upbeat film of solid craftsmanship across the board. Gadot’s Princess Diana just so happened to make her debut during World War I instead of World War II (both ideal backdrops for films pitting good against evil).

As is the case with most quality superhero origins, Wonder Woman takes its time establishing the character’s backstory before fists start flying and guns go blazing. This fish-out-of-water tale required the women of Themyscira to meet military men like Captain Steve Trevor (Chris Pine), and Ms. Jenkins wisely dictated slower pacing. The DC Universe is one where Greek mythology meets Judeo-Christian beliefs, but writer Allan Heinberg (story byJason Fuchs and Zack Snyder) made it work.

The plot is simple: The first World War literally breaks through a protective bubble put in place by Zeus to hide the Amazons from the god of war, Ares. Diana saves Captain Trevor when his plane crashes into the ocean, which serves as the impetus for her to leave utopia and save mankind. She believes that locating and defeating Ares on the field of battle will end all war. Steve humorously goes along for the ride as a means of getting home, although a romance between the two heroes eventually grows.

Perhaps what is most impressive about Wonder Woman — besides a memorable “No Man’s Land” scene and the iconic “lasso of truth” — is the way Diana’s improved understanding of love and free will allow her to fully realize her potential. The god of war eventually comes across as a Satan stand-in, and Wonder Woman adopts, for all intents and purposes, a Catholic definition of love (i.e., willing the good of the other as other).

Check out the rest of the review here.

 

Alien Covenant: Ridley Scott gives moviegoers sci-fi Rorschach test

Alien trailer

Question: How much do you want to bet that somewhere in Hollywood there is a producer who is thinking up schemes to make Wonder Woman vs. Alien happen?

The past weekend was rightly dominated Gal Gadot’s solid handing of Diana Prince, but if you’re like me and had to deal with sold-out shows, then you faced the “Do-I-stay-for-the-later-viewing-or-go-home?” predicament.  There was  a third option — seeing Alien Covenant — but I shirked my writerly duties and got you this review late. I hope you can forgive your humble (I try) blogger and consider the analysis below as similar situations unfold in the weeks ahead.

Here is an except from my latest review for Conservative Book Club, with a link to the full text once I’ve pushed fair-use content to its outer limits:

Director Ridley Scott’s latest foray into the universe he made famous roughly 40 years ago is a bit like a Rorschach test. Is it primarily a Prometheus (2012) sequel or an Alien (1979) prequel? Is it a highbrow science-fiction flick about the origins and meaning of life, or is it just another opportunity to show seemingly smart people make stupid decisions that lead to gruesome deaths? Alien: Covenant, like a quickly scurrying “xenomorph,” is hard to nail down.

One of the big challenges with bringing a film like Alien: Covenant to the big screen is making it fresh. Die-hard fans of any beloved franchise (e.g., Star Wars) understand that on some level they’re paying for the same roller coaster ride, but that doesn’t absolve creators from supplying a few new twists and turns. Luckily for Alien fans they have a 79-year-old Scott, whose lifetime of experience brings forth a gorgeous film that demands respect despite its flaws.

Alien: Covenant’s plot revolves around a crew of would-be planetary colonists who are wakened from hypersleep due to an emergency. Their captain dies, and a pensive man of faith named Oram (Billy Crudup) takes his place. Newly widowed Daniels (Katherine Waterston), an android named Walter (David Fassbender), and a small band of explorers decide to investigate a radio signal from a nearby planet instead of reentering hypersleep and risking another calamity. The chaos that follows serves as the bridge between Prometheus and Alien.

As expected, Oram and much of his crew soon find themselves overwhelmed by a hostile planet filled with xenomorph-producing spores that burrow inside ears and noses. The team is saved by David (Fassbender), the older — but more problematically human — model of Walter from Prometheus. He hopes to hitch a ride on their orbiting spaceship once an electrical storm subsides, but for reasons he has no intention of disclosing to his innocent human visitors.

Without spoiling the movie, the key to understanding David’s motivations lie in Alien: Covenant’s prologue, in which he speaks with his inventor.

“If you created me, who created you?” asks David.

His “father” (Guy Pearce) calls it the “question of the ages.”

“Allow me then a moment to consider — you seek your creator; I am looking at mine,” replies David. “I will serve you, yet you are human. You will die, I will not.”

A further window into David’s digital mind comes later in the movie during a conversation with “brother” Walter. He references fallen angel Satan from John Milton’s Paradise Lost: “Better to reign in hell, than serve in heaven.”

Check out the full review over at CBC here.

Alien trailer Walter

Kathy Griffin goes full Jihadi John with Trump beheading ‘art,’ apologizes after CNN gig put at risk

Kathy Griffin CNN Trump

It takes quite a bit of insanity to make your friendly neighborhood blogger swing into explicitly political material these days, but when Hollywood comedians go full “Jihadi John” it seems a though it’s time for the blog posts of old to return.

Jihad John

For those who somehow managed to avoid the news, Anderson Cooper’s regular New Year’s Eve broadcast buddy, Kathy Griffin, released images from a photo shoot today that she promised would “make noise.” TMZ was given exclusive access to the “art” project, which included Ms. Griffin holding up a fake version of President Donald Trump’s decapitated head.

This, dear reader, is “the resistance” that Hollywood directors like Joss Whedon are calling for because Mr. Trump will allegedly trick the nation into massacring gay people. The entertainment community now finds itself weirdly peddling the idea that Mr. Trump should have his head chopped off to … stop him from chopping off heads.

Get it? If you do, then please explain it to me in the comments section below.

Joss Whedon Trump tweet

Ms. Griffin apologized when the ensuing outrage spread like wildfire across social media, but that begs the question: Did she mean it, or was she trying to save her annual payday with CNN? When someone looks up repeatedly while apologizing, it comes across as, “Okay, okay. I’ll say I’m sorry. Can we just get this over with and move on? Yeesh.”

Consider what the comedian said just hours earlier to photographer Tyler Shields: “We’re going to go to prison — federal prison. Call your dad, apologize.”

She knew people would be angry and disgusted, but she did it anyway. She just didn’t realize that there are still enough people with common decency across the political spectrum that she would become professionally toxic to many of her peers. 

Kathy Griffin Apologize

Mr. Trump is a lot of things, but he most certainly does not deserve to have his fellow Americans sending the message that he should be executed ISIS-style. Nobody deserves such a fate, but for some disgusting reason the Hollywood community has decided to try and equate him with “Nazis” and Hitler and any other group that serves to transform him into a monster.

The reason is simple: Once you dehumanize a man and turn him into a demon, then it is easy to rationalize any action(s) used to destroy said demon. The entertainment industry has decided that a rhetorical and “artistic” scorched earth strategy is acceptable for “resisting” the president, even if it further tears the nation apart.

My guess is that Ms. Griffin, like many comedians, has a whole slew of psychological and emotional issues. People should be mindful of that as they respond to her “art.” Regardless, she should be held responsible for her a behavior. It is up to good people to take a stand against Hollywood’s most ghoulish political hacks, because the industry’s aggregated efforts have a huge effect on shaping young minds.

If you want to know what the future of America looks like without the right actions of morally upstanding individuals today, then look no further than the social media feeds of men like Joss Whedon and women like Kathy Griffin. Absent a miracle, I firmly believe that our nation is bound for many dark days ahead.

Guardians of the Galaxy Vol. 2: Jokes galore, the feels, and Baby Groot in a Marvel film that won’t age well

Guardians of the Galaxy Vol 2 trailer

Star-Lord and the gang are back for another adventure in Guardians of the Galaxy Vol. 2. This installment even gives Michael Rooker as Yondu a chance to shine, but the question remains: Is it any good?

Answer: It’s complicated.

One of the pleasant surprises of 2014 was seeing how Marvel Studios director James Gunn took a little known property (outside comic fandom) and turned it into a worldwide success with the right mix of irreverent humor, legitimate “feels,” and action. One of the slightly unpleasant surprises in 2017 is the way Mr. Gunn seemingly decided to just take everything that worked in the original and dial it up about five notches at the expense of the story.

Before we move on, here is the plot in a nutshell:

  • Star-Lord’s (Chris Pratt) father, Ego (Kurt Russell), saves the Guardians as they flee a race known as the Sovereign.
  • Star-Lord, Gamora (Zoe Saldana), and Drax (Dave Bautista) must figure out who Ego is and what he represents.
  • Rocket (voiced by Bradley Cooper) and Baby Groot are left behind with their ship and captive Nebula (Karen Gillan). They struggle to survive after being captured by Yondu and the “Ravagers.”

The good thing about Vol. 2 is that it explores all sorts of family dynamics and does so with a ton of heart. The bad thing about Vol. 2 is that every serious moment seems to be punctuated with a joke — and not all of them are that funny. Many of the jokes hinge on the audience caring about 80s pop-culture, and at some point it all threatens to derail the film.

Or maybe not. Maybe I’m out of touch. The audience I saw Vol. 2 with seemed to eat up every moment and laugh at every joke, even the Pacman moment better left in Adam Sander’s 2015 Pixels script.

There’s much more to say, but I would rather not include spoilers in the body of this review (feel free to spoil away in the comments section). The most succinct way of putting it is this: I enjoyed much of Vol. 2, but it isn’t a Marvel Studios film I plan to watch again and doubt that it will age well.

Agree? Disagree? Let me know in the comments section below. Have at it, hard-core Guardians fans…

Check out my review over at Conservative Book Club.

Joss Whedon Watch: Batgirl director uses teen cancer survivors as political weapons

At what point does a man look in the mirror and say to himself, “I’m politically unhinged and I need help before I sink into an ideological abyss and drown.” If your name is Joss Whedon, now would be a good time to ask that question.

For those who haven’t been paying attention to social media today, you missed the moment when Warner Bros.’ Batgirl director decided it would be a good idea to use teenage cancer survivors as a cudgel with which to beat President Donald Trump. Seriously. We have reached the point in Mr. Whedon’s life when children who somehow survived countless rounds of chemotherapy are fair game as weapons in a rhetorical war against political enemies.

Warner Bros. executives, if you’re listening, I have a question for you: Do you really want a man who is this unhinged — a man who brings this much baggage with him — at the helm of a big-budget superhero film? If so, then you too might want to consider getting your heads examined.

Check out my latest YouTube video to see Joss Whedon publicly demonstrate how easy it is for a man to die inside from ideological hemlock poisoning. Then, when you’re done, take a moment and vow never to emulate his behavior. You’ll be glad you did upon your own deathbed.