Ep. 82’s #OscarsSoRacist skewers Hollywood’s performative wokeness, from Mad Max: Fury Road’s feminist-driven hype to Bridge of Spies’ selective Constitution worship, while praising Revenant for its subtle faith and The Martian for human ingenuity. Clavin mocks political theater—Bernie’s fake transparency demands, Trump’s tax-return dodges—and ties PC culture to moral cowardice, citing Anita Sarkesian’s self-deception and Rotherham’s ignored abuse. The Oscars, he argues, reward narrative bias over truth, proving art reflects power, not just talent. [Automatically generated summary]
As we stand on the perilous precipice of that clavenless expanse of moral darkness we call the weekend, we reflect back on the two weekends just past when, in my absence, the nation began to crumble.
Two weekends ago, after I finished the final program for the week, the Illuminati murdered Justin Antonin Scalia, cleverly making him appear to be an old man with heart trouble who died of natural causes.
And of course, last weekend, as soon as I turn my back, Some of you in South Carolina, you know who you are, went out and voted for a mediocre, loudmouthed businessman who thinks the Constitution is that hotel in Boston where he met the girl he swears he didn't know was a professional until after his wife found out about her.
So, to steal your minds as you enter the clavenless shadows of the days ahead, we here at the Daily Wire have compiled a list of five possible disasters that may befall you while I'm away.
Be prepared.
Possibility one.
In an unguarded moment, Donald Trump, thinking no one is looking, allows himself to transform into his true shape as an enormous and slimy cosmic entity with numerous writhing tentacles, each of whose suction cup-like touch receptors bears the screaming face of a damned soul.
After Trump thunders, I am Cthulhu, master of the elder gods, his approval ratings rise 10 points.
Possibility 2.
The Illuminati and the Glitterati join forces to form the Adi Adi, a sinister organization dedicated to establishing a one-world government led by Kim Kardashian.
As their first order of business, they replace Antonin Scalia with Morgan Freeman, playing a judge who has secretly God come down to earth to judge his creation.
No matter how hard Alex Jones tries to convince us of the truth, no one believes him.
Possibility 3.
Ted Cruz announces that if you add all of Rubio's votes to his votes, multiply by six, and squint until the numbers blur, he almost has enough votes to lose to Donald Trump by just 14 points.
And so he declares victory.
Possibility 4.
After passing through a radioactive cloud, Hillary Clinton and Bernie Sanders magically merge bodies and blend into a single corrupt socialist hermaphrodite.
Hillary Clinton doesn't notice any difference.
Possibility 5.
Ben Shapiro wakes up with a smile on his face and says, it's a lovely day.
You know, on second thought, Donald Trump isn't as bad as all that.
In fact, I could even live with President Hillary if I had to.
Then comes the rapture.
Trigger warning.
I'm Andrew Clavin, and this is the Andrew Clavin Show.
It's gotten so I'm afraid to leave, you know, the minute I turn my back.
Is anything, what's coming up?
I guess the Saturday is the Democratic South Carolina thing that Bernie Sanders has already basically abandoned the entire thing, so it's going to be Hillary Clinton all the way, which looks like pretty much what's coming ahead until maybe the police come and carry her off and arrest her.
So we're going to talk about the Oscars today.
It's the end of the week for me.
It's the end of the week, so I think I'd like to talk about movies and see what's going on.
It's not because I care who wins the Oscars, to be perfectly honest.
The chance of my watching the Oscars are slim to none.
You know, I'll probably turn on Chris Rock and see what he says in his monologue.
But I don't really care who wins the award.
I don't think anybody really cares who wins the award anymore.
But it is a nice moment to look at the movies and to look at what actually came out last year and what is being elevated by Hollywood, because there's this kind of knee-jerk thing among conservatives that the movies are out to get us.
And there's a lot of truth to that.
I mean, if you went into the offices of the people who make those movies, they are out to get you.
But that doesn't always mean that the products represent their opinion.
So it's worth it just to look at it, see what the big films are.
Before we do that, I just have to take one final glance at the politics of the week, because I notice at the end of the week, I start to notice that there's kind of been a theme to what we're talking about.
And the theme this week has been censorship to some degree.
It's been how censorship, how Trump really is the force that comes out of a corked bottle, a bottle that's been corked by political correct censorship.
But underneath that theme of censorship is another theme, which is the theme of deception, because that's what censorship is all about.
It's about deception.
So I was watching yesterday, just watching and reading the political news.
I noticed there's this little kabuki dance going on now on both sides of the aisle about you have to tell us the truth and the other side saying, no, no, no.
You know, we have very good and obvious reasons why we should never tell the truth whatsoever.
So on the left, you have Bernie Sanders is calling for Hillary Clinton to release the texts of the speeches she made to Wall Street, for which she was paid hundreds of thousands of dollars.
A shot.
I mean, what she could have possibly been saying that was of that kind of value, I don't know.
So Bernie Sanders, here he is.
Here's Bernie Sanders calling for these speeches to be released.
But Secretary Clinton said, I will do it if other people do it.
Well, I am very happy to release all of my paid speeches to Wall Street.
Here it is, Chris.
There ain't none.
So pure left-wing posing, because who would invite Bernie Sanders to give a speech on Wall Street?
All he ever says is how terrible they are.
You know, I know, just to remind you, Wall Street is one of the great American institutions.
I understand that it's filled with horrible people.
So are all institutions, because most people are kind of horrible.
But the thing is, it is a vehicle for taking people with money and funneling that money to people with ideas who then make products which you use.
And that's how that works.
That's called capitalism.
They capitalize the ideas and creativity and hard work of other people.
And everybody who can invest in that makes money.
They're betting their money on the productivity.
So when he says these rotten Wall Street guys, it is true there's plenty of corruption to go around on Wall Street.
And we'll get back to that as we talk about the movies.
But still, he is demonizing a great American institution as much as we look down on it.
There's something about money that makes people go a little crazy.
They love it.
They want it.
They thrive on it.
It makes them happier.
But at the same time, they sit around and say, like, anybody who has it in a great degree must be evil, which is just ridiculous.
Here's Hillary Clinton's response to this, which is as silly as Sanders' attack.
Will you agree to release these transcripts?
They have become an issue.
Sure, if everybody does it, and that includes the Republicans, because we know they have made a lot of speeches.
You know what?
If people are going to ask for things, everybody should be on a level playing field, and I'm happy if that were the case.
So that's no, right?
That's Democrat for no.
I'm not going to release my speeches.
Well, why, you know, and it's really, it is ridiculous.
If you go out and give what is essentially a public speech, yeah, and you're running for president, of course you should release it.
I mean, what could she have possibly said that she doesn't want us to hear?
I mean, obviously, she went in there and she said, you know, don't worry, I'll take care of you.
I'm going to watch out for Wall Street, and I'm not going to stomp on you.
And she made friendly overtures.
And she's got this left-wing base that thinks Wall Street is the devil and she doesn't want to release it.
On the Republican side, you've now got establishment types, I guess we'll call them, which is a little unfair, but we'll just say that in general, the people who are not Donald Trump, let's put it that way, the people who are not Donald Trump are pressuring Trump to release his tax returns because Trump has made a big, big deal about A, how much money he has, and B, what a great charitable guy he has, and I give this to this and this, that.
And so Mitt Romney, kind of representing the establishment, went on Fox and sort of put this, put a little pressure on Trump.
Frankly, I think we have good reason to believe that there's a bombshell in Donald Trump's taxes.
What do you mean?
Well, I think there's something there.
Either he's not anywhere near as wealthy as he says he is, or he hasn't been paying the kind of taxes we would expect him to pay, or perhaps he hasn't been giving money to the vets or to the disabled like he's been telling us he's been doing.
And I think that's the reason that I think that there's a bombshell in there is because every time he's asked about his taxes, he dodges and delays and says, well, we're working on it.
Hey, we're not talking about the taxes that are coming due this year.
Of course, they're working on those.
They won't be ready for months.
We're talking about taxes already filed, back taxes.
And my back taxes, when I ran in 2012, my back taxes I put out in January of 2012.
We're now in late February, and we still haven't seen either Donald Trump's or Marco Rubio's or Ted Cruz's taxes.
And frankly, the voters have a right to see those tax returns before they decide who our nominee ought to be.
You know, I do have to reflect on one thing.
I know we're all supposed to hate Mitt Romney because he's kind of a rhino.
He is kind of a rhino.
And we also hate him because he lost.
And losing, of course, is the great American sin.
You're not supposed to do that either.
But I do have to say, as he was speaking, I was sitting there thinking, you know, he's a polite, he's a gentleman.
He's a gentleman.
And I wish that he had had just a little bit of Donald Trump's pride in his business accomplishments because he's 10 times the businessman that Donald Trump is.
When you talk to business guys about Mitt Romney, they get a kind of awe and respect in their voice because of what he did at Bain Capital, which is another organization for funding creativity.
And they demonized him.
And he started to be defensive about it.
If he had just once turned around and said to Barack Obama, that's right, I made millions.
What have you ever done?
That conversation would have come to an end, which is exactly what Trump would have done and why people love Trump and all this stuff.
But listen to Trump's response on Twitter.
Trump's response is, Mitt Romney, who totally blew an election that should have been won and whose tax returns made him look like a fool, is now playing tough guy.
Let's parse that just for a sec, okay?
I mean, Mitt Romney, who blew an election, what does that have to do with Trump releasing his tax forms?
I mean, should Trump release his tax forms or not?
It has nothing.
It is the typical bully's response.
Oh, he's playing tough guy.
I didn't hear Mitt Romney playing tough guy.
I didn't, you know, I thought he was just kind of stating his case and saying, obviously, he's been sent out to make that case and to, you know, kind of call Trump out into the open.
But what's it got to do with being a tough guy?
And he sends out another tweet.
When Mitt Romney asked me for my endorsement last time around, he was so awkward and goofy that we all should have known he could not win.
Who falls for that?
What a despicable little man this is.
Who falls for this?
Who thinks this is toughness?
This is that guy from back to the future.
Remember the bully who ends up like washing cars?
Why Men Are Underrepresented00:11:17
That's what this guy is like.
He reminds me of that guy.
So what got me about this, because at the end of the week, I sort of think about the stuff we've been talking about, and I'm thinking about the themes of it and all this.
And what gets me about this, as a novelist, I can't help but see that sometimes politics works in the same way that drama works.
Novels, drama, plays, whatever, movies, are a way of using outward events to represent the inner life.
So you tell whether it's a detective story, whether it's a romance, whatever it is, you're trying to recreate an inner experience.
You're trying to recreate emotions by showing something outside yourself.
I mean, the stories are not about what happens in the stories.
They're about what happens in the reader or what's supposed to happen in the reader or in the viewer as that story unfolds.
And politics as a narrative, and it obviously becomes a narrative, does the same thing because it's all about deceit and revelation.
It's always the theme of politics is deceit and revelation.
And that is a universal theme because we're all very good at deceiving one another because we are exceptionally good at deceiving ourselves.
And I really think that that is what a lot of this political correctness comes down to.
I'm actually, you know, I actually still am talking about the same thing.
Yesterday we played this woman, Anita Sarkesian, who I just think is a dopey little dame.
And she's got this feminist line that she goes on about video games and how they're evil because they show men rescuing women, which of course men have to do.
But just play a little bit of that tape again.
She was attacking video games.
Something really struck me about it last night after we played it.
We'll rack it up for you in a minute.
But it's funny, you know, we played it and then it kind of stuck with me and haunted me.
The pattern of presenting women as fundamentally weak, ineffective, or ultimately incapable has larger ramifications beyond the characters themselves and the specific games they inhabit.
We have to remember that these games don't exist in a vacuum.
They are an increasingly important and influential part of our larger social and cultural ecosystem.
The reality is this trope is being used in a real-world context where backward sexist attitudes are already rampant.
It's a sad fact that a large percentage of the world's population still clings to the deeply sexist belief that women as a group need to be sheltered, protected, and taken care of by men.
The belief that women are somehow a naturally weaker gender is a deeply ingrained socially constructed myth, which of course is completely false.
All right, stop it right there.
Now, women are weaker than men, and as a group, need to be protected and sheltered by men.
That's just a fact.
It's like, you know, it's an obvious fact.
Think of what would happen if you put even the biggest woman you could think of on a football field.
I mean, nobody would watch it because it would be an act of murder because women are built differently than men.
They're built for different purposes than men are built for.
So this is a woman who is, I don't think she's coming out there lying.
I don't think she thinks that anybody is going to be convinced and people are going to not.
What people do is they stop thinking.
She is deceiving herself.
And she's hoping that by silencing you, that deceit will stand.
And that is based on a theory that has been growing in Western culture really since the Reformation.
And we've talked, you know, if you go back and listen to some of the old, I'm not going to go through the whole thing again, but if you listen to some of our earliest podcasts, we talked a lot about this divide in Western culture between the Christian idea when Jesus, who is God, says, I am the truth, and Pontius Pilate, who is the sophisticated representative of the empire, says, what is truth?
You know, what is truth?
What do you mean by truth?
And that divide kind of came to the fore after the Reformation when the Catholic Church lost its monopoly on truth.
So that there was now nobody to say, oh, this is true.
This is decidedly true.
And Shakespeare noticed this right away in the play Hamlet.
And he has Hamlet say, nothing, Hamlet, while he's pretending to be mad, says, there's nothing either good or bad, but thinking makes it so.
And that was this representation of what Shakespeare knew was going to happen when this authority dissolved.
So if only thinking makes things good or bad, basically the left-wing theory is if I can change the way you think, I can change what's good or bad.
And of course, that's utterly nonsense.
And the only way you can do that is by stopping people from speaking the truth.
You know, the ultimate, I mean, we're seeing this today.
Our colleague Ben Shapiro is going off to Cal State, LA to speak.
And in the name of diversity, they're trying to silence him.
They're trying to shut him down because they've got to be diverse so they can't allow anybody to disagree.
This is this idea that if you allow these opinions, they're going to catch hold.
And the reason is that underlying knowledge that there is such a thing as moral truth.
There is such a, you know, we talk.
The ultimate expression of this self-denial, of this line, is taking place right now.
There's a trial in England, these guys in Rotherham, where they just allowed these Muslim men to rape little girls for ages.
I mean, a hundred, I can't remember the number, it was a large number.
I think it was over a thousand children who were raped while the police stood by and participated and covered up because nobody wanted to say this is part of this culture that has come in that we've allowed into our country.
Nobody wanted to say the politically incorrect thing, and it became a nightmare.
And that's the ultimate result, of course, of lying to yourself.
Because remember, things aren't good or bad in certain places.
It's not good to respect women in the West, and suddenly when you cross over into the Middle East, it becomes okay to disrespect them.
It stays bad all the way through.
When everybody on the planet held slaves and everybody on the planet thought it was okay, it was still wrong.
And if that's not true, how did anybody ever figure out that it was wrong?
If it was just everybody's opinion and everybody agreed that universally they thought it was, how did it ever pop into anybody's head?
Wait a minute, wait a minute, this is wrong.
It's because it's wrong all the time, everywhere, no matter what anybody thinks.
And that's the big lie.
That's the lie that all this censorship is trying to cover up.
It's trying to cover up the fact that what guys like Ben are saying is going to take hold because everybody knows deep down that it's true.
So let's look at the Oscars, where this has become, this whole idea of diversity has become the big deal.
I mean, you heard about it, I'm sure, starting right away, there were no black actors nominated for best actor for the second year in a row.
Horrors, horrors.
The truth is, since I think 2000, 10% of the actors who have been nominated have been black, which pretty much represents about 12% of black people who are in the country.
So the numbers are pretty good.
There was no standout performance by a black guy except maybe Idris Elba, who's a wonderful actor, but that was on this little Netflix program.
I'm not even sure it was eligible for an Oscar.
Yeah, so there you go.
In fact, Jamie Fox made a speech.
He was at the black, some black movie award, and he got up and he said, I don't know what everybody's talking about.
I've got my Oscar.
Basically, I don't know what the problem is.
But let me see what he says.
All this Oscar talks, I don't even trip about that.
I mean, what's the big deal?
I was sitting at home with my Oscar, like, what's all the hubbub?
So he's basically saying, yeah, turn in a better performance and you'll get your Oscar.
But no, because the social justice warriors, who are, of course, I mean, social justice sounds good because it has the word justice in it, but has nothing to do with justice.
But they've caught hold of this, and now it's become a big deal.
So now there's this new thing.
Here's a story from the Associated Press and the Hollywood Reporter.
Hollywood Studios, quote, whitewashed, giving failing diversity grades in new study.
So now this thing, they've grabbed hold of this thing and it's caught fire.
It says, let me just read this to you.
And as we go along, you'll notice I'm just going to read a couple of paragraphs of this.
In one of the most exhaustive and damning reports on diversity in Hollywood, a new study finds that the films and television produced by major media companies are, quote, whitewashed, unquote, and that a, quote, epidemic of invisibility runs top to bottom through the industry for women, minorities, and LGBT people.
A study to be released Monday by the Media Diversity and Social Change Initiative stop right there, right?
What did you think they were going to find?
What is an organization called the Media Diversity and Social Change Initiative at the University of Southern California's left-wing Annenberg School for Communication and Journalism?
What did you think they were going to find?
I mean, if they didn't find this, they would be out of work.
I'm sorry, we'll just have to go home now.
We didn't find anything.
Listen, the New York Times followed up on this with a hilarious piece.
I mean, just a hilarious piece called, it's really the title that's hilarious.
What's it really like to work in Hollywood, asterisks, if you're not a straight white man, you know?
The statistics are unequivocal.
It says women and minorities are vastly underrepresented in front of and behind the camera.
Relative to what?
Relative to what?
Underrepresented relative to what?
What the New York Times think should be there?
How many there are?
I mean, look, I do meetings in Hollywood almost every day, almost every day.
If women are underrepresented in this business, it's a secret to me.
It's a secret to me.
They may not have risen up as high as the men do, and there may be a lot of different reasons for that because they may divide their time differently than the men do.
But I walk in and pitch stuff to women every single day.
Powerful, smart, you know, women, some of whom are some of the best story people I've ever met, some of whom are idiots, just like the guys, you know, just like the guys.
Black people, I would guess, still underrepresented in the industry, but it's an industry built by white Jewish guys.
That's who built the industry.
So they got in there first.
And eventually, you know, as talented people come up, they'll come in there.
If the New York Times really wanted to ask a question, they would have asked, what's it really like to work in Hollywood, asterisks, if you're a conservative?
Because let me tell you something, pal, that's exclusion.
That's what Ben is going to experience today at the university.
And that's what I experience every day.
You know, it's funny because I don't actually mind working with left-wingers.
It actually is a good corrective on my assumptions, on my self-deception.
As long as we have a power balance, as long as I can stand up for myself and not get kicked out the door, then it actually isn't a bad thing for somebody to question your political leanings because then you have characters who say both things and both sides have their point of view.
Listen, I can write tomorrow, I can write you a conversation between a left-winger and a right-winger, and I'll agree with everything the right-winger says, but I will give the left-winger his point of view and not turn him into a villain.
And you only can really get that going when you mingle different points of view.
There are two kinds of diversity.
Gender differences are real.
Gender differences are very real.
And as I say, it's like a stereo opticon.
You only see half the world.
Each gender only sees half the world, and you need to put them together before you see the whole thing.
But the only real diversity is diversity of ideas, of diversity of mind and spirit.
And that is what's underrepresented in Hollywood.
Why Spirituality Shines Through00:11:35
So let's take a quick look at some of these movies.
There are two movies that were nominated this year that I haven't seen.
One is Brooklyn, which people keep telling me is great, but I can't.
You saw it, Mathis?
It's great.
It's great.
Okay.
I can't get to the, but by the time I get to the end, I start to doze off.
I don't know what it is.
It just has that quiet, arty thing going on.
And the other one is Room, which I also hear is good.
And I love that woman, Bree Larson.
Is that her name?
Yeah, she's just great.
And I suspect she'll win the Oscar because this is kind of her year.
It sort of feels like her year.
My favorite film this year was Revenant.
And I didn't bring a clip to that because there's almost no dialogue in it.
It's just Leonardo DiCaprio going, hanging on, as he crawls through the desert.
I thought it was a wonderful movie, very beautiful, like all movies made now.
It's a couple of minutes too long, but it's not crazy too long.
But I just thought it was a beautiful and deeply, deeply Christian film.
I mean, I'm pretty sure the director in Oradu and Agridu is a Catholic.
It is just soaked in spirituality.
Now, I wrote a piece about this for PJ Media, and the comments were furious.
People were furious at me.
I saw this movie.
I'm reading this.
I saw this movie and religion of any kind was so far from anything that I saw that it is not funny.
In fact, this movie is the opposite of religion.
It's about treachery, lying, hate, racism, murder, theft, and absolute revenge.
And this is one of my, this is why so many Christian movies suck, because people think that Christians are lovely people.
And once you find Jesus, everything is lovely.
It's like a little, he's like a little unicorn, you know?
And you know, of course, if you actually read the Bible, you know, like a bloodletting, this horror and torture, only Mel Gibson actually got it right.
But this is a story of revenge and ugliness and hatred.
And over all of it is this spirit of God.
And those who say it's not in there, it's in the dialogue.
So it's written into the piece, is the spirit of God who understands that all these actions are being taken out of love.
The worst actions are being taken out of love.
And he's trying to guide the people to that love.
And it's got a father and a son and a spirit in the person of DiCaprio's wife.
So it's got the Trinity operating there.
It's a very, very beautiful and profound, I thought, profound movie.
Really good stuff.
And I think DiCaprio will win the Oscar too.
Oh, the other film I really, another film I really like, The Martian.
Play the clip from The Martian.
This exemplifies this.
Matt Damon plays an astronaut stuck on Mars.
Right.
Let's do the math.
Our service mission here was supposed to last 31 souls.
For redundancy, they sent 68 souls worth of food.
That's for six people.
So for just me, that's going to last 300 souls, which I figure I can stretch to 400 if I ration.
So I got to figure out a way to grow three years' worth of food here on a planet where nothing grows.
Luckily, I'm a botanist.
Mars will come to fear my botany powers.
I love that.
And what I love about this film is, you know, Matt Damon, biggest lefty on the earth.
I'm sure they didn't mean it this way at all, but this film is the anti-environmentalist film because what it says is, don't panic, don't be afraid.
Put me, you put a human being on a planet with no air, no water, no nutrients.
He will find a way.
He will find a way.
And so every time these environmentalists say, if we do this, if we touch that, if we use that, it's all going to go bad.
It's all going to be terrible.
Everything's going to go wrong.
The air, the water, everything, we're ruining everything.
This is the answer to that.
You know, we ain't going to ruin everything so fast.
You know, we're not going to run out of energy.
It was made from our imaginations.
It's not made from dinosaur fossils, made from our imaginations.
We will imagine something else into energy.
And that's what I love.
This is a pioneer film.
It's a film about a pioneer, which he actually says.
He compares himself to the pioneers, and it brings back the pioneer spirit in a way I feel that the left just despises in real life.
But they somehow managed to make this movie about a pioneer who says basically mankind will conquer because of his spirit and his imagination.
Really, really like that.
Another film I really liked.
So that's two of these Oscar-nominated films I really like.
Two I haven't seen, so they don't count.
Spotlight, another picture, independent film.
I really like that.
Here's one of my favorite scenes.
It's Michael Keaton and Mark Ruffalo playing journalists who expose a true story, journalists who expose the child molestation scandal in the Catholic Church.
I'm not going to rush the story, Mike.
We don't have a choice, Robbie.
If we don't rush to print, somebody else is going to find these letters and butcher this story.
Joe Quimby from the Herald was at the freaking courthouse.
Mike, what?
Why are we hesitating?
Barron told us to get law.
This is law.
Barron told us to get the system.
We need the full scope.
That's the only thing that will put an end to this.
So let's take out to Ben and let him decide.
We'll take it to Ben when I say it's time.
It's time, Robbie.
It's time.
They knew and they let it happen.
Two kids.
Okay?
It could have been you.
It could have been me.
It could have been any of us.
We got to nail these scumbags.
We got to show people that nobody can get away with this.
Not a priest or a cardinal or a freaking pope.
You know, one of the things I really liked about this film, I'm sure it was tough for Catholics to watch, and I'm sure they're tired of hearing about the scandal, and I don't blame them.
But it's a true scandal.
It's a real scandal, and it's even worse scandal because they represent God.
So that if there were no God, if it were no God, if there were no God, it would be no worse than any other scandal, any other child molestation scandal.
What I really liked about this is they went after the Catholic Church, but they didn't go after Catholicism.
They didn't say anything was wrong with the religion.
What they said essentially was these guys had violated the tenets that they themselves were selling.
And that's a fair hit, and you got to take it, and it was a good drama.
Most overrated film of the year, no question, Mad Max Fury Road, just a boring, repetitive piece of car, you know, car chase with beautiful colors, a beautiful color palette.
And when you're watching an adventure film thinking, great color palette, you know, the film isn't any good.
This is a film that was ruined by feminism.
And I don't say that because I'm not a feminist, though I'm not a feminist.
I think that feminism is the most anti-female philosophy around.
It's an anti-human philosophy.
I dislike it intensely.
But I could watch a feminist film, especially a film about a woman getting her rights or a woman achieving what she wants to achieve.
I could watch that film and enjoy it immensely.
This was just purely from the point of view of a storyteller.
They allowed the secondary character, Charlize Therone, to become the primary character, and it skewed the structure of the film so that it lost its narrative drive.
That's always, by the way, behind the scenes, the take on women directors, as they're always saying women directors don't have enough narrative drive.
That's always what they say secretly while they're going out and giving interviews about how they need more women directors.
But this is not a, this is not by a woman director, but it's still, it lost its narrative drive because it lost its focus on the main character.
You can just look at the, here's the scene where you can see it.
How do you know this place even exists?
I was born there.
So why did you leave?
I didn't.
I was taken as a child.
Sterlite.
You've done this before?
Many times.
Now that I drive a war rig, this is the best shot I'll ever have.
And then they're looking for hope.
What about you?
Redemption.
See, that's the hero's speech.
That's about why the hero is doing what he's doing.
And she's not the hero.
Nothing they do can make her the hero of the film because it's just not structured that way.
It's called Mad Max Fury Road.
You came to see Mad Max.
And it just, it dies inside and becomes repetitive because we just don't really care about her journey the way we care about his and his doesn't exist.
His isn't written into the picture.
Beautifully made film, just looks great.
You know, obviously Tom Hardy and Charlize Therone, both terrific actors, just really ruined.
And I just thought it was overrated partly by the feminists, partly by the feminist press because they said, oh, how wonderful, a female action hero, and partly by people who just don't know anything about movies and thought, it looks good and there's cars going back and forth.
I only had, so the thing is, I only had political problems with two of the films that are nominated.
And I think that's really important because conservatives have this knee-jerk thing about the movies that, you know, they're out to get them.
And these are films that really spoke to me as a conservative, you know, and said things that I thought really mattered.
And the problems I had with these two films, Bridge of Spies and The Big Short, were really problems of omission, which of course is the way that leftists lie.
That's the problem with the New York Times is not the stories they cover.
It's all the stories they don't cover.
And the problem with Bridge of Spies, you know, I'm kind of running out of time, but look, play, go ahead, play that one little clip of Bridge of Spies.
where a CIA guy tries to get Tom Hanks as the lawyer for a Russian spy to violate lawyer-client privilege.
Don't go Boy Scout on me.
We don't have a rule book here.
Your agent Hoffman, yeah?
Yeah.
German extraction.
Yeah, so my name's Donovan.
Irish, both sides, mother and father.
I'm Irish.
You're German.
But what makes us both Americans?
Just one thing.
One, one, one.
The rulebook.
We call it the Constitution.
And we agree to the rules.
And that's what makes us Americans.
It's all that makes us Americans.
So don't tell me there's no rulebook.
And don't nod at me like that, you son of a bitch.
So good speech.
You know, I like it.
But my big problem with this is that, you know, Spielberg is a big Obama and Hillary Clinton supporter.
I just always wonder when I see a scene like that, how come they're always talking about the Constitution when we're dealing with our enemies, when we're dealing with the guys in Guantanamo, when we're dealing with Russian spies.
But they never talk about the Constitution when they're shutting up Ben Shapiro or when they're, you know, like silencing conservative voices on Twitter.
Suddenly the Constitution doesn't matter so much.
And that just always bugs me.
It's just the hypocrisy of it.
A decent film, kind of slow, but okay.
And the other one is the big short, which I really objected to on political grounds only because the acting is great in that film.
It's okay.
It's an okay film.
It's another Wall Street demonizing Wall Street story, and it completely excises the role of the government in causing the financial crash, the role of the government in giving loans to people who couldn't pay them back.
And I just think that that is a form of lying about what really happened.
However, good movies, basically, you know, not a great year for movies, but nothing offensive.
They didn't feel like they were crawling into my house and trying to change my point of view and take my politics away.
So in spite of the left-wing bias in Hollywood, you know, it really is not as big an attack as it used to be, I feel, going on on our sensibilities.
Why Go Back To Rehab?00:02:56
Not so far, anyway.
So watch the movies.
Don't go to the Oscars.
The traffic in my neighborhood is terrible and it's just awful.
They wall off.
It's right around the corner from me.
They wall off the street and I can't get anywhere.
Stuff I like.
I like to end with music.
Over the last weekend, I watched another Oscar-nominated film, a documentary about Amy Winehouse called Amy.
I thought the film was okay because it's about her addiction.
She obviously died of drug addiction.
And the problem with addiction is it's boring.
I've known a lot of addicts in my life.
I mean, I'm in the arts, so I know a lot of people who abuse substances.
And it just gets, it eats your soul, and you become very repetitive and very boring, and you stop having any motivations in life at all except getting those drugs.
And that's what happened to her.
So it was a little dull.
However, I loved her.
I had not realized, I mean, I always liked that song Rehab.
You know, they say I should go back to rehab.
But I didn't realize what a great voice she had until they, you know, everybody in the film says, the minute she walked in, I realized what a great voice.
Well, you'd have to be an idiot.
You know, you'd have to be deaf not to realize she was one of the great, great jazz singers, and she would have become, had she lived and had she not poisoned herself to death, she would have become one of the great jazz singers of all time.
And she wrote a lot of her songs, and one of the things I really enjoyed about her lyrics is they're very conversational and very blunt.
I mean, you know, that thing, you know, they say I should go back to rehab.
I say no, no, no.
It's just very, very much like a straightforward telling.
And here's a song that's in the movie that I just really enjoyed.
She has a relationship with this guy who's kind of needy and a weakling.
And she writes this song called, You Should Be Stronger Than Me.
I mean, you can't be more direct than that.
So let's listen to her lyrics and this terrific voice of Amy Winehouse for the end of Stuff I Like.
You should be stronger than me.
You've been here seven years longer than me.
Don't you know you're supposed to be the man?
Not pale in comparison to who you think I am.
Cause I always want a girl.
I don't care.
I always have to comfort you when I'm there.
But that's what I need you to do.
Stroke my hair.
Yeah.
When I forgot your love, young love's shy.
I feel like a lady.
Yeah, you, my lady boy.
Make you so be stronger to me.
That voice is a gift from God.
And she threw it away.
And it's a sad story, but it's a beautiful, beautiful voice and really worth listening to.
That's it.
I'm going home.
Take care of the country.
If I come back here and you've messed up again, there will be hell to pay.