As a generation, America faces big moral questions that only Hollywood can answer.
In the 1980s, for example, all liberals were about AIDS, so Hollywood eventually took up the major cause and gave them Gay Forest Gump in the film Philadelphia (1993).
A few years ago, a film like “The Nickel Boys” would have been Shue-in. Back in Floyd's year 2020, this kind of thing put the liberals on their knees.
Denzel Washington, a moral symbol of many films of the time, became gay with Tom Hanks, so everyone knew it was their moral duty and their moral progress. Black and white have reconciled, and the racial struggle in America is over. It was all about civil rights. In response, he won an Oscar, including Bruce Springsteen, and on “The Streets of Philadelphia,” the boss also became gay. The entire era was one big “South Park” episode.
What's hard to understand is who gets the final laugh.
Peellik's victory
After a generation of fighting, very energetic liberals were at the top. 2015, Obergefell The decision transformed America into San Francisco, the solar system's capital of gay marriages around the world. Then, all constitutional amendments regarding marriage in all states, abolished about 31 people. The majority were lost, the constitution was lost, and everyone was reeducated.
Hollywood and the media have not become as strong as ever. Or we thought.
However, 10 years later, the prices paid by liberals for these victories seemed to have lost American audiences. As far as Oscars are concerned, it's still one big “South Park” episode, but no one's tuning it.
Perhaps for that reason, Hollywood is getting even more intense in its progressive tasting. Competing for the best pictures of the year are two Titans of transgender victory: “Conclave” and “Emilia Perez.” We haven't seen such hype since Jake Paul faced off with Iron Mike.
Catholicism and cartel
How can you decide which one is more honorable? Is it “Emilia Perez”? In a musical about a Mexican cartel gang who loves Hitler, lose his test circle to find himself? Or is it a “conclave” where Muslims bomb the Vatican to pave the way for the first pope with the ovaries? Really, this is only the problem that the most sophisticated Cineastes are equipped to judge.
These fantasies about “moving” reds of toxic masculinity like the Catholic Church reveal the impressive ambitions that led the liberals of Obama and Biden in the year, and to transform Afghanistan into a feminist utopia.
However, this drastic vision of the empire cannot focus on more local issues. Should the Pope be transgender, preoperative or sailor, hermaphrodite, or intersex? “Conclave” reveals the true freedom that 21st century leftist thought can achieve, and shows us this bewildering variety of options for self-identification!
Big Mike's return?
Transwomanhood is now the most attractive Hollywood attraction. Next – President Transmadam? Talk about Oscar food! And the story writes itself. Rather, Twitter trolls already I wrote it on their speculation that Michelle Obama began as the “Big Mike.”
Somehow, the great right-wing digital brain predicted the future, as it often does. This heuristic has a name. The most interesting timeline wins.
However, Hollywood is currently stuck in a contest between oppressed groups that have no more in common. They are furiously rejecting most Americans. Obviously, they can't win all, and they cannot draw enough attention to justify moral demands either in urgency or intensity. But can they all lose?
bum 'nickel'
I've focused on two transgender films so far, but looking at the rest of the best photo candidates, there are, of course, mandatory films about racism, civil rights, the 1960s, and the unfair incarceration of young black men, talented academics.
A few years ago, a film like “The Nickel Boys” would have been Shue-in. Back in the year of Floyd 2020 (when Colson Whitehead novel “Nickel Boys” is based on Pulitzer), this kind of thing brought liberals to the knees literally.
But now? No one has seen it, and the liberal press can barely bother to praise it. Can you blame them? Trans is clearly the forefront of the present, so why are they at risk of opposition? In 2024, liberals seemed to have made all the wrong choices about what stories to push, so it's only natural that they start to doubt their instincts a bit.
Pure sustainability
The rest of the list includes at least four different feminisms. “Anora” reinvents romcom as the crazy and bold adventure of a negotiable, loving woman who roams the figure of a delicate man, the son of a Russian oligarch. The heroic “sex work” may be a new possibility for liberals in the 21st century!
“Material” – the cleverest of these gynecologically centred pleasures – seeks to rely on Hollywood plastic surgery through the body's fear of displaying Demi Moore's natural 60s naked body. Here, the future is certainly a woman, but only for a ruthless woman who is ruthless enough to grab it from the physical inferior.
“Evil” adds the unquestioned black girl magic to “Witch Wizard”. The tension in the audience persuading them that they wanted this led to the most eerie media campaign in award season memories.
Then there's the old-fashioned traumatic feminism of “I'm still here.” The only foreign film to be nominated for Best Picture, “I'm Still Here,” reminds me of a liberal adage every time a man is murdered. The real question is who is suffering because of this. Brazilian politicians are being accused of the military regime – is it based on a true story? Let's focus on his wife's ordeal. The perseverance of pure women has not been more cinematic.
It is noteworthy that behind the camera here is Walter Sales, the Brazilian director, heir to the billionaire of the banking empire, best known for making the Billionaire of Worship 20 years ago. Hamas is the latest terrorist group, reminds us that liberals worship in the form of kitschy art. It also reminds us that there is cruelty behind their sentiment.
Finishing the competition is a classic crowd-pleasing Holocaust film. In “The Burutalist,” the protagonist survives the cruelty of the camp just to give America it in architectural form.
The charm of chalamet
That's all for serious candidates for this year's Olympics of Repression. The other two candidates are worth mentioning only about artistic merit.
James Mangold's Bob Dylan biopic, “The Complete Unknown,” is better than everything else, as is the sequel to Dennis Villeneuve's “The Dune.” Both are forms of nostalgia from the 1960s, and both demonstrate the power that gave us radical feminism and gender ideology.
Both films also feature the same actors, Leonardo DiCaprio, Timothy Chalametto, and women's favorites, and heartbeats treating them like an all-you-can-eat buffet and harem combination. He is the only actor in Hollywood and seems to be a bit cooler or even a bit allowed on the hero side. But of course, even when he is leading the jihad, the last words need to go to a woman who is unhappy with him and chooses atheism over marriage. It's 2025.
