Hollywood’s perfidious blacklist leaps to the fore again, killing the careers of conservatives such as John Nolte, the conservative screenwriter author of the article. Despite his success (and the continued success of all the conservative people declaring that they’ll be run out of town should the conservatism they’re telling reporters and newspapers about become known), we must realize that at any point they could be dragged off of their custom Posturepedics and denied access to such vital services as spa care and dim sum.
It’s pretty much like Darfur, but in California.
That, by the way, is pretty much all Nolte has to say. Conservatives can’t get work or approved scripts, as we know from all the conservatives getting steady work complaining about how the work isn’t steadier or more conservative. American Carol is the epitome of this, with conservatives banding together to declare that the conservative movie they made will forever tar them in Hollywood, and they’ll make damn sure to tell you all about it after they finish the junkets for National Treasure 3 and X-Men 4.
The pervasive drumbeat of threatened oppression is the Hollywood version of “liberal media bias”. By playing the refs who were never making bad calls in the first place, you hope to build up a movement and expectation that any time a conservative doesn’t get a job, it’s because liberals “blacklisted” them over Chablis and macrobiotic salads and not because they keep proposing a four-hour biopic of Milton Friedman (as played by Bruce Willis and costarring Bo Derek). Where are the talented conservative actors sitting around scrounging for ad work because they wore a Bush/Cheney button to an audition? Where are the conservative movies sitting in limbo that would otherwise set the cinematic world aflame? What is the net effect of this creative fascism on the conservative creative mind, and is there someone who can tell us about it that doesn’t have a growing IMDB listing?