Cracked has a hilarious article about Magic Negros. Oh, man, I nearly peed my pants.
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John Rogers has a confusedly worded, rambling diatribe on his blog. Once you get past the beginning, where he seems to be addressing some unspecified reader or readers, he makes some sound points:
This is how it works, kids. Hollywood is run by large corporations. Large corporations do not want to make controversial political movies. Which is why, by and large, they don’t. They want to make franchise-friendly four-quadrant super-profitable family entertainment, with some sex comedies for the teens/dumb-guy comedies for college students, sprinkled liberally with horror movies for Date Night. Which is why, by and large, they do.
This is not hard. This is capitalism. Capitalism is our friend.
Artsy People in Hollywood, on the other hand, often want to do something artistically satisfying, or personally important. And, too, studios sometimes want to win awards, because with that prestige comes more bargaining power with the Artsy People, and often more profits. And, hey, some Execs are secret Artsy People. It’s kind of cool, actually.
The difference is, the guys at Big Hollywood [a conservative Hollywood website] look at Stop-Loss — costing $25 million and making $11 million — and deduce that America is rejecting Hollywood’s liberal agenda. While I look at An American Carol — costing $20 million and making $7 million — and deduce “Huh, people didn’t seem to like that movie.”
Indeed, I might look at the failure of those two overtly political movies at the either end of the ideological spectrum say “Huh, people don’t seem to like overtly political movies from either end of the ideological spectrum.” But probably not, as I’m not the sort of fuckwit who tries to derive patterns off two lousy data points.
The conversation between the suits is pretty funny, too.
The only thing I take issue with is his dismissal of a “liberal agenda.” No, there is no organized conspiracy, and yes, the studios are more concerned with making money than anything else. (Although, I am the sort of fuckwit who would derive a pattern from two lousy data points; I really don’t think Americans like overtly political movies.)
But that doesn’t change the fact that most of Hollywood’s creative power class are liberal. By that alone, far more liberal movies than conservative ones will be pitched; even if you allow that an equal percentage from each category will eventually be made, that still leaves us with more liberal movies than conservative ones.