Once Upon a Time in Hollywood

Once upon a time in Hollywood, the entertainment industry was a magic kingdom. Its wizards gave the people what they wanted — tough, funny, or sensitive heroes, beautiful damsels or dames, and normal, intelligent folk attracted to one another for who they were, not what race, gender, or sexuality they brandished. Whether they dwelt in the savage past, the complex present, or the fantastic future, the characters always behaved believably enough to follow.

The rules were simple. Good men fought bad men and defended women from overpowering physical abuse, while less formidable men either amused girls or empathized with them. The women appreciated these virtues and embraced the men. A vast audience of adults and children understood this normalcy enough to reward the business for a century. Then suddenly in the new one, masculinity, femininity, beauty, comedy, and heterosexual romance practically vanished from the screen. Those who exhibited such traits were displaced by types — minority-obsessed males and ridiculously masculine feminist women on both sides of the camera.

In a wink, the once magic kingdom became a hideous barren wasteland. Ground Zero for this fast mutation was the major studio built on traditional values and long beloved for it — Walt Disney. A scandalous new revelation — too obvious to be explosive — by muckracker James O’Keefe publicly exposed the studio’s antipathy to straight white men.

O’Keefe employs a classic information-gathering subterfuge that old-time movie executives would have suspected — the hot date. Which is pretty girls for the straight guys and handsome devils for the queer eye. It works because the woke targets can’t conceive of a non-feminist attractive woman or a conservative gay man — even when they’re not homosexual — so they blab to their dates like drunken sailors. Which is precisely what Disney’s Vice-President of Business Affairs did to O’Keefe’s undercover girl reporter.

The executive gushed about his company’s corporate ban on white men. O’Keefe posted his revelation on X. “Nobody else is going to tell you this, but they’re not considering any white males for the job,” says Michael Giordino, a Vice President of Business affairs, “there’s no way we’re hiring a white male.” Giordano reveals Disney uses “code words and buzzwords” to avoid legal action and even mentions a candidate being rejected for not looking “black enough.”

The blowback, both litigious and humorous, came quickly, starting with a tweet by Utah Republican Senator and constitutional scholar Mike Lee. “Disney’s lawyers will be busy. Very busy. Because this Disney exec admitted to hiring (and not hiring) on the basis of race. As it turns out, that’s against the law. In fact, it has been for the last 60 years.” Unsurprisingly, former Trump advisor Stephen Miller announced his America First Legal team intends to sue Disney for “discriminatory hiring practices” against white men.

Right on cue, The Babylon Bee mocked the ultimate irony of Disney’s policy. It perverts the family-uplifting vision of the company’s legendary founder. “Walt Disney Posthumously Fired By Walt Disney Company For Being White Male,” blared the Bee headline. However, the woke disease permeates not only Disney, but all of Hollywood, and has for the past 20 years. It warps the mind of Tinseltown denizens into hating more than half the country, the working majority, and supporting the socialist elite at the expense of their own craft.

Two weeks ago, former screen charmers George Clooney and Julia Roberts held a fundraiser for vegetating leftwing zombie Joe Biden that netted almost $30 million. It didn’t matter to the pair that the little people all across America, unlike the two of them, have to struggle to afford food and fuel. Or that Democrat-run California is a dysfunctional state experiencing mass flight by the productive class and the influx of welfare-dependent illegal aliens. Or that their theoretical environ, Democrat-run Los Angeles, is now a crime-ridden homeless-defecated socialist hellhole. Or that the man they feted is to blame for much of these disasters.

I personally witnessed this rapid social degeneration as a Hollywood screenwriter at the turn of the century. I befriended a great group of Ithaca University film major graduates that, like me, hoped to conquer the industry. They had a simple plan to do it, reflecting the famous motto from my favorite book, “All for one and one for all.” Though each group member had a different talent — writing, directing, editing, creating special effects — whoever broke through first would pull up a mate or two. Since I was in the trenches with them, we forged a real bond.

Initially, my conservative politics was a minor issue amid the mostly liberal clan. We celebrated each other’s successes. We partied hard when I got a first film deal (Electra),  Joe was hired by a huge kids animation studio, Sally joined a prestigious special-effects crew, Don became editor of a popular TV sitcom (not their real names), and so forth. Then came 2015, and Trump Derangement Syndrome.

I announced my intent to vote for Trump, and the impossible — or so I thought — happened after he won. I got unfriended by almost everyone in the group, except Sally. By which I mean phone calls unreturned and even social media contact blocked. I realize people who can do this to a friend aren’t really friends but cultists. And that’s what Hollywoke is now, a giant Jonestown, committing ritualistic suicide.

My ex-friends contributed to the madness, only minus the clout of George Clooney, Julia Roberts, and comrades. I’d love to know how they’re doing now in the quagmire they helped create. I hear a couple of them are struggling for work. And I know one thing — Disney won’t be hiring them anytime soon. The magic is gone.

READ MORE from Lou Aguilar:

Return From American Zombieland

Feminism’s Secret Weapon: Weak Men

‘Now Tarzan Make War’ – On the Democrats

The post Once Upon a Time in Hollywood appeared first on The American Spectator | USA News and Politics.