BY NATE BEELER
by Jake Boot posted on BigHollywood.Brietbart.com
Based on the information so far, the honchos at Comedy Central are cowering like the Dutch. A spokesman for Comedy Central said, according to the Times, that it was not giving permission for the episode to run, without censorship, on the studio’s website.
A few questions:
First, where is Homeland Security on this? (Oh, never mind, they’re most likely busy infiltrating Tea Parties.)
Second, what is it about animation and cartoons that these idiots cannot understand or abide? There is probably no point in trying to explain to them that this is a cartoon series and is deliberately, delightfully offensive. Ever see any of the episodes about the gay teacher? And his leather-clad “assistant,” Mr. Slave? If you happened by any chance actually to be a gay schoolteacher who saw those shows, you either: a) wanted to die, or b) were dying laughing and will continue to chuckle every time you think about it for the rest of your life.
Planet Earth to Revolution Muslim: You need a sense of humor to live in this country. Otherwise go away.
Last, why are our media outlets run by jellyfish? Are there no bravehearts in the newsrooms and control rooms anymore? The Emmy-winning “South Park” is a take-no-prisoners sort of show whose main characters Stan and Kyle (not to mention the inimitable, somewhat anti-Semitic Cartman) bravely tread where no newspaper commentator, Op-Ed columnist, cable news bloviator, or talk radio loudmouth will ever dare to go. They go, literally, where the sun don’t shine. Stone and Parker are — like Theo Van Gogh — free-speech fundamentalists. Are we going to allow courageous artists to go it alone? We can’t let the bullies win.
Comedy Central needs a backbone, and Revolution Muslim needs a bitch-slapping. This is a situation about which the Left and the Right can easily agree.
Voice Actor for Geico Gecko Fired for Leaving Anti-Tea Party Voicemails with Freedomworks
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by Matt Kibbe posted on BigGovernment.com
FreedomWorks staff and volunteers have suffered through bomb threats, endless hostile abuse from union patch-through calls laced with profanity, death threats, the N-word directed at an African-American employee, and a host of full-frontal creeps. You can find many of these documented here and here.
Many of these orchestrated attacks were launched in the days leading up to our September 12th Taxpayer March on Washington. Where was the moral outrage when we received a bomb threat on September 11th? “There’s a f***ing bomb in your building, bitch,” the caller said. Then, did the media write stories about how the Democrats and their hard left adjuncts had gone too far with their threats, their hate, their racism?
We need to draw a line in the sand. Across this line you do not cross! Let’s all agree to hold the individuals acting badly personally responsible for their actions. As far as I can tell, the bad actors are likely phony infiltrators from tea party crasher groups.
We are a grassroots movement made up of people who believe in individual freedom and individual responsibility. Racism and hate are inherently collectivist ideas. As individualists we judge people as individuals, based on the content of their character, not the color of their skin.
I asked the activists that joined with 40,000 of their fellow Americans on the Mall in front of the Washington Monument on the evening of April 15th to police the crowd for any hate or racial slurs. If you see bad actors, ask them to leave. If they won’t leave, get a picture and we will out their bad behavior online in the light of day. I don’t care who you are: we will not tolerate haters or racists in our community.
So when the voice-over guy for Geico Insurance, D.C. Douglas, called and left us another hostile message, and left his phone number, we held him accountable too, posting his message where he calls all of us “mentally retarded,” and potential killers. Geico canceled his contract. He now says that we, “like Glenn Beck, are flirting heavily with sedition.” Strange accusation from an actor that talks for a living.” Americans covet our freedom of speech. We have a sacred right, enshrined in the Constitution, to show up, protest and challenge government policies that are bad for America. Freedom: it’s an insurance policy we should all buy.
Click to Listen: Lance Baxter's Voicemail
Click to Listen: Adam Brandon Confirms the Caller
Chapter six and seven deal with race and how this movie is inconsistent with the original trilogy. Both well worth the time for a good laugh and good insight.
Its Morning in the Movement: A Review of R. Emmett Tyrrell's "After the Hangover"
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“Conservatism is America’s longest-dying political movement” claims R. Emmett Tyrrell in his newest book “After The Hangover: The Conservatives’ Road To Victory.” Yet, says the old warrior, it is also poised and fated to ultimately win the culture war.
As one would expect from the one and only RET, it’s quite a read.
He details the obituaries: the 1950s (when the movement was just coming together), 1964. 1974, 1992, 2006, and 2008. As long as conservatism has been growing, it has repeatedly been pronounced dead. Next he notes that just before 2006 it was the Liberals who were having obituaries written for them–in 1994, 2000, and 2004—a little noted fact.
But, as Bob quotes from the longshoreman philosopher Eric Hoffer, “every great cause begins as a movement, becomes a business, and eventually degenerates into a racket.” By the Bush years the pols were spending wildly and giving only lip service to true conservative principles. Some conservative media darlings were too often merely opportunists, mouthing our principles whilst looking for the next lucrative gig.
Throughout this period, Tyrrell rightly contends, the fact is that Liberals were the ones in decline, moving from being the dominant political movement to third place behind conservatives and moderates or independents. In fact, conservatives now outnumber them 2 to 1, according to Gallup polls.
Liberals, he observes, are different from conservatives to the point that they are almost a different species, possessing the “political libido” of a nymphomaniac (at times that of a sex offender) as conservatives have always had a very restrained “political libido.” The result? Liberals over-politicize as with healthcare where they have taken on the majority of the American people and caused actual violence to ensue. In stark contrast, when conservatives had an opponent of abortion in the White House, Ronald Reagan would not think of forcing the issue on the divided Republic.
Tyrrell’s explanation as to why conservatives have a milder political libido is to be found in his definition of conservatism. Borrowing from the British conservative political philosopher, Michael Oakeshott, Tyrrell defines conservatism as “A temperament to delight in life, liberty, and pursuit of happiness—the pursuit being as John Locke put it, the acquisition and exchange of property.”
Whereas conservatism starts as a temperament, Liberalism starts as “an anxiety.” Reality makes them anxious and leads them to create ideological constructs, for instance, affirmative action, color based or gender based society, redistribution of the wealth. Those are the true ideologues.
What has held conservatives back since the political movement took over the country in the 1980s (though Tyrrell demonstrates that conservatism continues to shape the political mainstream) is the Liberal domination of culture, in Tyrrell’s typically clever coinage, the “Kultursmog.”
And incidentally you won’t want to miss Tyrrell’s shots at those conservatives who advance in the Kultursmog by sniping at other conservatives. Of Christopher Buckley he says in part, ‘He [Christopher] would be Bill’s loving son and a louse….In an era of cheap celebrity, Christopher calibrated that such revelations will ensure a few more moments of fame. Britney Spears and Paris Hilton probably make similar calculations.’
But—good news! Today, with an ever-growing “old-school” conservative counter culture in place (including unprecedented assets such as their own television, talk radio, additional magazines, think tanks, blogs, etc), can and likely will beat the Liberals in the real culture war.
With the Liberals alienating the average American with an increasingly astonishing brazenness and a conservative counter culture capable of defining conservatives independent of the Kultursmog, Tyrrell’s got his marker squarely on conservatives’ resurgence—and victory–in the years ahead.
All in all, a good book at a critical time from a good man who edits a great magazine and to whom we all owe a debt of gratitude. Read it, then ride to the sound of the guns!
CARTOON OF THE WEEK
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Obama Nation: Our President by James Hudnall and Batton Lash
"RED DAWN" REMAKE SCRIPT REVIEW
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The script of the upcoming remake of the infamous America-conquered-by-Commies movie Red Dawn (1984) raises an intriguing question – can Hollywood actually still produce a movie where it takes America’s side? The answer is “Sort of.”
There are some welcome ideological surprises lurking within the script’s 104 pages. Shockingly, Hollywood actually seems to accept the premise that if the Chinese and Russkies invade the United States we are justified in fighting back with hot lead instead of teach-ins and choruses of Kumbayah. But the script also displays a bit of the moral illiteracy we’ve come to expect from the Hollywoodoids – naturally, the script has to imply that we kinda brought the invasion on ourselves and that resisting tyranny somehow means becoming just as bad as the tyrants.
Sure, that sounds awesome in theory, but John Milius’s original Red Dawn was – well, let me be diplomatic – probably one of the silliest movies ever made. And I loved it. When you combine killing communists with unbelievable camp – like the teen warriors’ giggle-inducing battle cry of “Wolverines!” and Harry Dean Stanton’s memorable scene that ends with him hollering “Avenge me!” – and then add some beer, you’ve got one hell of an awesome time at the movies. In the quarter century since its release, it’s inspired a cult following. A young captain even adapted the title as the name of the Army operation that rounded up the late, unlamented Saddam Hussein.
Now, I’m not here to evaluate the aesthetic worthiness of Carl Ellsworth’s script. I’ll leave that task to someone with the expertise to properly critique its unique aesthetic qualities – like noted reviewer Hackey von Hackenheimer. I will say that Ellsworth must have sat through a few of those screenwriting seminars because you can set your watch by the predictable action beats (“Hmmm, we’re three quarters through the script, so time for Act III to begin: {*types into FinalDraft 8*} ‘MCGUFFIN ENTERS and provides motivation for climactic battle sequence.’”)
Let’s just say you won’t walk out of the theater feeling that your prior conception of what “cinema” is has been radically redefined.
Of course, there’s no Patrick Swayze here. Boo. And the new Red Dawn also unforgivably omits the cry of “Avenge me!” in favor of a much lamer substitute. Those interested in specifics of the plot, such as it is, can peruse this spoiler-filled synopsis. As John Nolte memorably put it, we’re here to spot the liberal sucker punches for you, not to reveal fanboy-centric plot points like whether Boba Fett’s helmet will be dented on the right side or the left side.
The hero is Jed, probably because Hollywoodoids think everyone who lives east of the I-5 is named “Jed,” or possibly “Zachariah” or “Cletus.” Jed is a 22-year old Marine who has come home after fighting in Iraq. I guess the fact that he’s not portrayed as a raving psycho counts as something like progress. The script’s view of Iraq is ambiguous, as demonstrated by Jed’s exchange with a local hick who incoherently swings between gung ho belligerence and neo-isolationist cliches.
Returning vets do get into those kinds of conversations, but it’s usually with Blue State quarter-wits sounding off with Mother Jones talking points. Whatever – we should just be grateful Jed doesn’t launch into a speech about how Bu$hitler lied and his buddies died, or how Dick Cheney, in association with the Carlyle Group, hid WMDs in oil wells to raise Haliburton’s stock price.
There are a couple of nice scenes. Early on, the escapees get to a cabin and decide to arm themselves with the firearms stored there. The script does not see this as odd or unusual – it rightly assumes that every American should always ensure his or her ready access to weapons in order to be able to do their duty and defend their society in time of emergency. However, the cabin’s owner had failed to stockpile a sufficient amount of ammunition, and the script properly points out this major lapse. All real Americans should always be ready with adequate supplies of arms and ammunition – after all, “Bang” is the sound an American makes while maintaining this country’s freedom.
Jed trains up his guerrillas and they start killing the Chinese occupiers. That’s cool. Some might scoff at the notion that a bunch of armed rural folks could have any effect against a professional army. I would note the fact that we don’t speak with an English accent and enjoy our beer cold rather than warm and by the pint. I would also note the example of a Finnish hunter who personally took out at least 705(!) Russian soldiers, and observe that deer are harder to hit than people. Now, the training scenes are a bit perfunctory (I’d have gone for an 80s-style musical montage myself) and the “Wolverines” go from high school kids to steely-eyed killers pretty quickly – though they sure babble about their feelings a lot. A lot.
And there’s a refreshing take on the proper response to those foreigners who murder Americans – the script actually agrees that you fight back and kill them. I wish I could share the exact quote, but just seeing that sentiment on the page of a Hollywood script is a revelation. Did someone at a Rodeo Drive bistro secretly spike Ellsworth’s Pellegrino with Awesome Coolness Pills, because Hollywood needs more of that kind of clarity and old-fashioned can-do. I need a cigarette after reading something like that.
It’s not all awesome. There are a couple of throw-away lines where the Chinese invasion is explained, in part, by the massive liberal-spending binge debt we owe them. There are lots of reasons to worry about foreign debt; I’m not sure the threat of repossession is one of them. The explanation for how the wily, inscrutable Asian enemy (and the script does portray them as wily and inscrutable) pulled off the invasion is pretty lame too.
Also, there’s an unintentionally hilarious scene where the junior varsity guerrillas get a drop on some US commandos, the leader of which introduces himself as a lieutenant in the Delta Force. Ummm. Well, that bunch does not take inexperienced lieutenants. And they don’t tell outsiders they are from “Delta Force.” And pulling an AK-47 on one of those guys is a good way to get a 7.62mm suppository – if you’re lucky.
There are no real sucker punches, but there is at least a sucker tap. The script really falls down on the job toward the middle, where Jed momentarily devolves into the kind of dork who spews the type of moral equivalence that might seem profound to a pampered UC Berkeley sophomore but that is, in reality, really stupid.
He whines that because he’s using guerrilla tactics that he is now just like the jihadi scumbags he fought in Iraq. His girlfriend Toni inarticulately disagrees. This is supposed to be a moving moment, but it only served to move my lunch back up my esophagus.
The character of “Toni” should have smacked some sense into Jarhead Jed since the script didn’t have his drill sergeant around to do it.
You know, the audience is watching an uplifting and inspirational tale of shooting communists and all of a sudden this nonsense pops up. Just stop. Let’s try another example. Nazis liked oxygen. Hey, Americans like oxygen too! Ergo, Hitler and Americans are the same, right? Nimrods. The fact that we kill bad people for killing us does not make us bad too. For the perpetual sophomores out there, the test of the morality of a conflict is the cause you fight for; the tools you use are largely irrelevant. American bayonet – good. Nazi bayonet – bad. I blame the public schools for this kind of nonsense and muddled reasoning – the “critical thinking” they purport to teach is actually anything but.
Let’s clarify for those who remain unclear – the act of shooting, blowing up, bludgeoning or otherwise eliminating those who threaten and murder Americans is an unambiguously good thing. What al Qaeda terrorists, Taliban, Shiite militias, Republican Guards, Viet Cong, North Koreans, Nazis, Imperial Japanese soldiers and their ilk feel or felt deeply in their little hearts and warped minds about their various causes is irrelevant and unworthy of attention — except to the extent that understanding their thought processes facilitates defeating them. Their destruction was and is a moral necessity and unquestionably morally right; their fighting Americans was and is unquestionably morally wrong. Always. End of story.
Any questions? No? Good.
However, the script is admirably forthright on how best to deal with American traitors and collaborators. Let’s just say due process comes quickly and in pistol form. That’s refreshing. As a lawyer, I appreciate trials and such, but as someone who has known folks killed and wounded by such bastards, my perspective is different.
It’s nice to see that in Red Dawn, Hollywood is at least inching toward ideological sanity. The Americans are the good guys. The people trying to kill the Americans are the bad guys. In this way, if in no other, the new Red Dawn is just like real life.
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