Posted onMay 15, 2021byifnm|Comments Off on NBC Comedy ‘Rutherford Falls’ Says It’s ‘Not Worth Being Friends With White People’
Rutherford Falls, an NBC comedy now airing on the network’s streaming service Peacock, is filled with anti-white deadpanning.
The show centers on Nathan Rutherford (Ed Helms), a white man who is
an arrogant town leader blindly defending his ancestor who found the
fictional upstate New York town in 1683. That founder, Lawrence
Rutherford, founded the town by breaking a treaty with the fictional
Minishonka tribe and the series follows the white townspeople as they
defend their town and the local Indian groups who protest them for
being, well, bad white people.
On the other side of the issue is Terry Thomas (Michael Greyeyes), a
Native leader who owns the Indian casino in the area. He justifies his
ruthless version of capitalism by insisting that it is payback to the
evil whites who kept his people down and stole their lands.
In one episode, for instance, Thomas — who proudly displays a photo of himself and Michelle Obama — claims that his capitalism is different from white capitalism because his casino “distributes revenue” to the members of the tribe.
Posted onFebruary 2, 2021byifnm|Comments Off on Kim Novak explains why she left Hollywood: ‘I felt like I was losing myself’
The Alfred Hitchcock muse appeared alongside Frank Sinatra, James Stewart and William Holden, among others
Kim Novak, who was once hailed as the number one box office star, said goodbye to Hollywood at the height of her career in 1966.
After a mudslide destroyed her home in Bel Air, Calif., the actress and Alfred Hitchcock
muse packed up her remaining belongings and headed to a cliffside
dwelling along the wild coast of Big Sur. It was there where she focused
on her first love — painting.
For years, many wondered what became of the former screen siren who appeared alongside Frank Sinatra, James Stewart and William Holden, among others. But the 87-year-old has been pursuing her lifelong passion for art away from the glaring media spotlight. She currently resides in Southern Oregon surrounded by the animals and nature she longed for during her reign at the studio.
Posted onJanuary 27, 2021byifnm|Comments Off on The Politically Incorrect Guide: The New Animated Webseries
Season one is 10 episodes long, each episode lasting 12 to 15 minutes and releasing throughout 2021. The show will educate “people on true but politically incorrect facts,” says Joseph (Jake) Klein, series producer and founder of Dangerous Documentaries.
Podcasters and authors Tom Woods and Michael Malice
have created an ingenious prescription to heal the sickness of
misinformation rampant throughout the country: an animated webseries
that educates viewers beyond the politically correct rhetoric
increasingly infecting American universities and society at large.
Based on the Regnery book series of the same name, each episode will cover stories from history, culture, and social movements that students in today’s mainstream education system may never hear, but need to know. The book series contains 32 works, each written by a different expert, including The Politically Incorrect Guide to Communism and ThePolitically Incorrect Guide to Capitalism, both of which will be among the show’s upcoming episodes.
She said her character on the sitcom “was molded by me, from me” and that the “values and principles” of the Kansas farm girl mirrored her own.
Dawn Wells, the girl-next-door actress and former beauty queen who played the sweet Mary Ann Summers on the iconic CBS sitcom Gilligan’s Island, died Wednesday morning. She was 82.
Wells died in Los Angeles of causes related to COVID-19, her publicist announced.
Other than Tina Louise, Wells was the last surviving member of the
regular cast of the Sherwood Schwartz-created show, which featured three
women and four men marooned on a desert island after their three-hour
boat tour off the coast of Honolulu went inexplicably awry.
Airing amid the real-life tumult of the Vietnam War, the Civil Rights movement and unrest on college campuses, viewers welcomed the corny sitcom as wholesome escapism. It earned solid ratings during its 98-episode run from 1964-67 and attracted new fans through decades of syndication.
Posted onOctober 11, 2020byifnm|Comments Off on U.S. Box Office Expected to Plunge by 81 Percent in 2020
The U.S. box office is expected to drop by 81 percent this year as the coronavirus continues to decimate domestic moviegoing, according to new analyst report from MoffettNathanson. The report recommends that cinema chains swallow their pride and team up with streaming services like Netflix as a “lifeline to get more product on movie screens.”
While cinemas in many areas have re-opened, key markets in
Democrat-controlled states like New York and California remain closed,
which has had a chilling effect on Hollywood studios who remain wary of
putting their movies in theaters. The disappointing domestic release of Tenet has prompted studios to delay many of their tentpole releases to 2021.
As a result, cinemas are still starving for movies that could lure back customers.
“2020 unfortunately now looks like a year where the domestic box
office is set to plummet 81 percent,” MoffettNathanson’s Robert Fishman
concluded in the report, according to The Hollywood Reporter.
Fishman said the market could take a couple of years to bounce
back. “Factoring in the studio supply and potential consumer demand
issues, we now forecast 2021 to be depressed at 35 percent below 2019,
or $7.4 billion, before growing 23 percent to $9.1 billion in 2022.”
In the meantime, he recommended cinema chains join forces with streaming services.
Today we reveal Pinocchio’s dark secrets. On the surface, it seems like an simple film with a simple message for little kids about behaving well. But, were the filmmakers trying to hint at something deeper…darker? Is the evil in Hollywood today new or does it go back ages?
Comments Off on The EVIL Secrets Behind Pinocchio (Video)
Posted onSeptember 10, 2020byifnm|Comments Off on Kirstie Alley Calls New Diversity Rules for Best Picture Oscar a ‘Disgrace to Artists Everywhere’
“I’ve been in the motion picture Academy for 40 years. The Academy celebrates freedom of UNBRIDLED artistry expressed through movies. The new RULES to qualify for ‘best picture’ are dictatorial .. anti-artist..Hollywood you’re swinging so far left you’re bumping into your own ass.” Kirstie Alley
is sharing her thoughts on the Academy of Motion Picture Arts and
Sciences’ new representation and inclusion standards for Best Picture
eligibility. The actress took to Twitter on Tuesday to call the list of
new requirements “a disgrace to artists everywhere.”
“This is a disgrace to artists everywhere…can you imagine telling Picasso what had to be in his f**king paintings,” she tweeted. “You people have lost your minds. Control artists, control individual thought .. OSCAR ORWELL.”
A new film about a forgotten genocide makes for inspirational viewing.
Legendary Polish director Agnieszka Holland has come out with a thoughtful, elegant new film, “Mr. Jones,” addressing the 1932-33 Ukrainian Holodomor, or forced famine. I watch a lot of movies, and I’ve seen many addressing atrocity. “Mr. Jones” wrecked me. I fought back sobs, and also the urge to thrust my fist through the screen and destroy the film’s slimy villains. Compared to numerous other films addressing humanity’s dark side, “Mr. Jones” depicts virtually no onscreen gore. This is not atrocity porn. “Mr. Jones” is two hours long, and yet scenes of the actual famine take up only about half an hour – and it’s a quiet, monochromatic half hour. This film most frequently depicts well-dressed, well-fed people talking. With just that, Holland was able to move me more deeply than many a more graphic film. In 2019, innovative horror director Ari Aster released “Midsommer,” shot almost entirely in bright sunshine. Aster wanted to see if he could terrify people without hackneyed jump scares in old, dark houses. Holland has done what Aster was trying to do. “Mr. Jones” is a lowkey, polite, non-horror movie that utterly horrified me.
Posted onJuly 24, 2020byifnm|Comments Off on Ice Cube: Hollywood Owes ‘Reparations’ for ‘All the Damage They’ve Done to Black People’
Ice Cube, who has over one hundred soundtrack credits, 31 producer credits, and over 70 acting credits, called for “reparations” from Hollywood studios on Wednesday.
Hollywood studios such as MGM, Warner Bros., and Universal should
fund “black studios” to compensate black people for “stealing our
history and giving it to white people,” Ice Cube declared.
“All the studios who contributed in our narrative, in our pain, in
our misrepresentation, in stealing our history and giving it to white
people for over a 100 years, so I think these studios that we know and
love should kick in to a studio that’s ran by black people with no
outside influences, and whose movies and projects are owned by those
black people,” the Ride Along and xXx: Return of Xander Cage star said.
“Those black artists, those black directors and writers, and people who put the projects together should own the projects, and any studios they can license — the projects, the movies, or the TV shows or whatever — or they don’t have to,” Ice Cube said in an interview with The Breakfast Club, a nationally broadcast morning radio show hosted by Charlamagne tha God, Angela Yee, and DJ Envy. “We can put them on our own streaming services. I just think it’s a form of reparations from the entertainment industry if they all had to invest a certain amount of money into the studio each year as payment for all the damage they’ve done to black people.”
Posted onJuly 14, 2020byifnm|Comments Off on Hollywood’s identity crisis: Actors, writers and producers warn of ‘reverse racism’ in the film industry which has created a ‘toxic’ climate for anyone who is a white, middle-age man
They continued: ‘We’re only hiring people of colour, women or LGBT to write, star, produce, operate the cameras, work in craft services. If you are white, you can’t speak out because you will instantly be branded ‘racist’ or condemned for ‘white privilege’.
As the wooden boards are taken down from
shopfronts and studio lots grind slowly back to life, Hollywood is
basking in an unseasonable heatwave.
The famous boulevards shimmer in 40C haze and warm Santa Ana winds fan the Beverly Hills mansions.
Shaken by #MeToo, paralysed by Covid-19,
the $50 billion film industry is finally emerging from a four-month
lockdown – only to find a new and very different world, where tension is
rising as surely as the thermometer.
For if the very public Black Lives Matter protests have polarised America, the silent fallout has now reached Hollywood.
A revolution is under way. White actors
are being fired. Edicts from studio bosses make it clear that only
minorities – racial and sexual – can be given jobs.
A new wave of what has been termed by some as anti-white prejudice is causing writers, directors and producers to fear they will never work again. One described the current atmosphere as ‘more toxic than Chernobyl’, with leading actors afraid to speak out amid concern they will be labelled racist.
“We can call it Cultural Marxism, but at the end of the day, we experience it on a day to day basis, by that I mean a minute by minute, second by second basis. It’s political correctness and it’s multiculturalism.” – Andrew Breitbart