Devil Mouse confirms diversity agenda

As if there was ever even the slightest shadow of a doubt:

Disney CEO Bob Iger confirmed the company has a diversity agenda.

In a recent interview with the New York Times, interviewer Maureen Dowd pointed out to Iger that the top executives of Disney are white men in their TV, film, parks and consumer products, and streaming and international divisions.

Alan Bergman is the co-chairman Walt Disney Studios alongside Alan Horn. Bob Chapek is the Chairman of Disney parks, Experiences, and Products, Peter Rice is the Chairman of Walt Disney Television, and Kevin Mayer is the Chairman of Direct-to-Consumer & International.

Iger responded saying, “You have to look one level down, because we’ve done a lot.” However, he did acknowledge that Disney is “lacking” in diversity when it comes to the people who are directly reporting to him. He did make it clear he plans to change that before he leaves the company saying, “I’ll change that before I leave.” Iger is expected to retire from Disney in 2021.

What’s Iger going to do for an encore, announce that the only thing the Devil Mouse hates more than copyright is Jesus Christ?


Just the first step

Marvel is deeply committed to giving you more of what you don’t want:

Marvel Studios executive producer Trinh Tran recently commented about Marvel’s Phase 4 and beyond plans noting “this is the first step to more diverse characters and franchises.”

Tran spoke with Inverse shortly after San Diego Comic-Con to discuss Phase 4 and its “visibility of women and superheroes of color.”

Tran stated, “Female representation, the diversity of it all, is very important because this is the world we live in.” She added, “There’s so many different people out there and in order for us to relate to them, we have to make movies that are different. We can’t always be about one race or gender. That’s not the way to connect with the world.”

Tran would then go on to explain she’s excited about the upcoming Black Widow and Shang-Chi film before noting these Phase 4 films are just the first step for Marvel Studios.

“This is the first step to more diverse characters and franchises. I am hoping for more down the line. We have so many characters in the Marvel Universe, it’s a matter of picking which one makes sense to the MCU.”

She adds:

“In thinking about the future of the MCU and how all those characters are gonna connect, diversity is crucial in our future.”

Tran then states, “I think we’re heading towards the right direction. Ten years ago when we started making these movies, you probably don’t see much of that.”

Arkhaven is going in precisely the opposite direction. Time will tell which was the right choice.


Years late and dollars short

Now media conservatives are beginning to talk about how the Conservative establishment should be doing what we’re doing already:

It’s time for conservatives and what Kurt Schlicter calls the “Normals” to have an entertainment industry of their own. Hollywood has effectively divorced conservatives (and the Normals). And after a divorce, as they say, “living well is the best revenge.”

The question is how. It’s not easy and one of the big reasons is the conservative world itself. Conservative financiers abjure the arts — indeed they seem even to fear them — unless it’s putting money in their local philharmonic to have their name on a plaque in the lobby. Problem is, we all love Beethoven but he doesn’t need our help at this point.

Conservative fat cats also put a ton of money in think tanks that aren’t particularly effective. I don’t mean to unnecessarily diss those tanks. Some of my best friends are, etc., etc…. but the truth is, one good movie or television series is worth more than a hundred, or even a thousand, position papers when it comes to moving society. Andrew Breitbart couldn’t have been more right when he said: “Politics is downstream of culture.” (He could have added education, which is in a sense part of the culture, now more than ever working hand-in-hand with entertainment for bad ends.)

What is needed here by investors on the right is a little guts for a change. It shouldn’t be so hard, but somehow it is — or has been. It’s obviously true that film, theatre, and publishing are risky investments, but the center-to-right audience is huge. Plenty of “proof of concept” exists with films like The Blind Side, Lone Survivor, and American Sniper — just some examples of box office smashes that fit that profile.

Not one word about Alt-Hero, Rebel’s Run, or any genuine alternatives, of course. And remember, this guy was given seven (7) million dollars by a billionaire investor back in 2004. Did he make a movie? Did he start a film studio? Did he even publish a single comic book? No, he spent it on a wildly overpriced blog.

On the plus side, however, it must be admitted that Mr. Simon was laudably open about the nature of his operation from the start.

Speaking of supporting the cultural war, you can pick up a copy of the Big Bear’s tour special here.

UPDATE: Wow, I had no idea, but apparely Roger Simon is a comically stereotypical shyster.

Il Gattopardo

A very thorough review of the classic Italian film – and novel – The Leopard:

Luchino Visconti’s masterpiece is his 1963 historical epic The Leopard (Il Gattopardo, which actually refers to a smaller spotted wild cat, the serval, which is the heraldic animal of the Princes of Salina in Sicily). Visconti’s film is a remarkably faithful adaptation of the 1958 novel of the same name by Giuseppe Tomasi di Lampedusa. The Leopard became the best-selling Italian novel of all time, carrying off many critical laurels as well. In its beauty of language, philosophical depth, and emotional power, The Leopard is one of the greatest novels I have ever read, and Visconti’s film does it full justice. Both are works of genius.

Set during the Risorgimento, the unification of Italy into a modern nation-state, The Leopard is sometimes called “the Italian Gone with the Wind,” which is an apt comparison, although The Leopard is better both as a book and a film. Like Gone with the Wind, The Leopard is a historical romance set against the backdrop of a war of national unification in which a modern, bourgeois-liberal industrial society (the Northern Kingdom of Piedmont and Sardinia, ruled from Turin by the House of Savoy), triumphs over a feudal, agrarian aristocracy (the Kingdom of the Two Sicilies, encompassing Sicily and Southern Italy and ruled from Naples by the house of Bourbon). Even the time period is basically the same. The novel The Leopard is set primarily in 1860–62, and the film takes place entirely in this time frame.

The story begins in May of 1860, when Giuseppe Garibaldi, a charismatic nationalist general, raised an insurgent force of 1000 volunteers and landed in Sicily to overthrow the Bourbons. The Garibaldini fought for no king or parliament. They fought for the nationalist idea. They fought for a unified Italy that did not yet exist.

Garibaldi fought his way to Palermo, declared himself dictator, then raised new troops to take the fight to the mainland, where he overthrew the last Bourbon king, Francis II. Then Garibaldi handed the kingdom over to king Victor Emanuel of Piedmont and Sardinia and retired into private life. Plebiscites were held throughout Italy, except in Venice, which was under Austrian rule. All of Italy, save the Papal States, agreed to unification under the House of Savoy. In 1862, Garibaldi raised an army to march on Rome and forcibly incorporate the Papal States, but he was stopped by troops loyal to the new unified kingdom.

Lampedusa was a Sicilian aristocrat and a partisan of aristocracy. As a study of classical aristocratic virtues, The Leopard can be placed alongside Aristotle’s Nicomachean Ethics. As a meditation on the decline of aristocracy into oligarchy, it can be placed alongside Plato’s Republic. Visconti, however, was both an aristocrat and a self-professed Communist. Thus his adaptation also highlights other aspects of the novel, dramatizing how the revolutionary energies unleashed by the ideas of the sovereign people and a unified national state were coopted by the old Italian aristocracy and corrupted by the rising middle classes.

The Leopard is very much the Italian Gone With the Wind. I’ve read it twice, and I highly recommend the novel to anyone. I haven’t seen the film yet, but I intend to do so soon. Read the whole review there.


Disney is TRYING to kill Star Wars

And, by the looks of it, it is succeeding:

A new rumor suggests J.J. Abrams and Rian Johnson’s The Force Awakens and The Last Jedi movies were supposed to reboot the entire Star Wars franchise.

The source told Buechler:

“Rian was not just randomly writing a story nor was JJ. JJ’s job was to create a in-canon reboot like the 2009 movie and introduce the new characters. Rian’s job was to kill off the originals and then you were suppose to not notice it was rebooted. Each was given the outline to make it and what the points were. So now you know why. Disney did not want to pay a license fee and by end of it all looked different and was a new copyright under the old name. They even changed the Falcon to be different. But the orders was in the end to leave nothing original.”

The source added:

“There is this just quick. There was always one plan. After the reaction to The Last Jedi, the decision was made to bring in J.J. to fix the plan he laid out and they threw Rian under the bus. This is why they said Rian might get his own trilogy. They just didn’t expect the backlash to be as toxic as it was and consequently Solo flopped.”

The belief is that Disney owes some kind of licensing fees to Lucas if the original characters are involved, so they’re trying to replace them in order to fully own everything. Of course, it’s also possible that the original characters are simply too white and straight for the Devil Mouse to abide.


Another Hollywood revenge fantasy

Only this time it’s Americans rather than Nazis like in Inglourious Bastards:

NBC Universal Pictures still plans to release The Hunt about ‘liberal elites’ kidnapping ‘deplorables’ from red states and killing them for sport despite backlash in the wake of mass shootings. NBC Universal is still pushing ahead with plans to release the movie The Hunt. Movie is about liberal elites kidnapping and hunting MAGA types for sport in the upcoming political satire.

Hollywood hates, hates, hates Americans, and hates American Christians in particular because Hollywood is owned and run by Paper American satanists. If you still can’t understand this, if you still can’t accept this, you’re probably not going to get it until you are actually being hunted by them and their proxies.

Meanwhile, actual mass shootings are being committed by their co-religionists.

Their screams music, their pain my pleasure.’ Dayton shooter’s demonic notebook scrawls reveal he fantasized about massacres, ‘hunting’ for humans, craved marijuana and speed, called himself a sociopath and hailed Lucifer. Betts’ rambling contributions, written around 2017, include a Satanic pentagram with the words ‘Hail Lucifer’ and numerous references to death and murder. The warped loner declares himself a servant of ‘evil incarnate’ and rants about everything from schizophrenia to satanic rituals and massacres.

The only problem that NBC Universal Pictures has with the Dayton shooter is that he didn’t target white Christians. This post is directly connected to the previous one, because the movie represents what the satanists intend to do to Americans if Americans are foolish enough to permit themselves to be disarmed.

How can one enter into a strong man’s house, and spoil his goods, except he first bind the strong man? and then he will spoil his house. He that is not with me is against me.
– Matthew 12:30


The liberal lust for blood

Projection is why the Left and the neoclowns – but I repeat myself – are so terrified of “hate” and guns and white people. Because they know that the America they envision will always be an fictitious one:

“Did anyone see what our ratfucker-in-chief just did?” one character asks early in the screenplay for The Hunt, a Universal Pictures thriller set to open Sept. 27. Another responds: “At least The Hunt’s coming up. Nothing better than going out to the Manor and slaughtering a dozen deplorables.”

In the aftermath of mass shootings within days of one another that shocked and traumatized the nation, Universal is re-evaluating its strategy for the certain-to-be-controversial satire. The violent, R-rated film from producer Jason Blum’s Blumhouse follows a dozen MAGA types who wake up in a clearing and realize they are being stalked for sport by elite liberals.

Over the Aug. 3 weekend, ESPN pulled an ad for the film that it had previously cleared, while AMC ran the spot during the season premiere of its drama The Preacher. It’s unclear whether the ads were identical, but the one yanked by ESPN opened with a sound resembling an emergency broadcast signal. A rep for ESPN parent Disney declined to comment on the move, but an ESPN source says no spots for the film will appear on the network in the coming weeks.

The Hunt stars Betty Gilpin from GLOW and Hilary Swank, representing opposite sides of the political divide. It features guns blazing along with other ultra-violent killings as the elites pick off their prey.

Can you even imagine what the VFM being stalked for sport by elite liberals would look like? There wouldn’t be any elite liberals left afterward.


The opportunity embiggens

It’s going to be interesting to see Rebel go up against the likes of SJW Black Widow and Captain Marvel:

Schaeffer, who also contributed to Captain Marvel and will be showrunning the upcoming WandaVision series on Disney+ added, “I wasn’t a huge superhero movie fan before starting to work [at Marvel], but now that I’m doing it, there’s just so much opportunity to make big, positive statements.” She continued, “Especially something like Captain Marvel and Black Widow, to have these female-centered stories — I just can’t not be involved in that.”

Schaeffer would go into detail about her ongoing experience with WandaVision and what it’s like to be showrunning a TV series without previous TV writing credits. Schaeffer states, “It’s highly unusual. It’s kind of ridiculous.” However, she adds that showrunning is “the most satisfying role that I’ve had. It combines almost everything. While I think I will get back to directing at some point, right now running a show – I feel like the luckiest person in the world. It’s a really phenomenal gig.”

She goes on to discuss the makeup of the writing room for WandaVision indicating there are four women on a staff of eight writes. Schaeffe states the writer’s room’s makeup is “incredibly intentional, and it was very much supported by Marvel.” She adds, “I felt incredibly strongly that we needed women and people of color and people of all backgrounds and perspectives in the room. I believe — I think it is fact — that stories are better the more perspectives you have.”

Schaeffer also called for superhero films to stop “glamorizing guns and weaponry.”

SJWs with an agenda and no experience. What could go wrong? And let’s just say Rebel doesn’t have any issues with glamorous weaponry. After all, her AR-15 is pink.


REBEL’S RUN update

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The false dawn

SJWs can be excused if they erroneously believe all is well with the Devil Mouse:

Hear Disney roar.

On Sunday, Hollywood’s alpha studio announced its films have collected a record-shattering $7.67 billion at the 2019 global box office — and it’s not even August.

The previous industry record of $7.61 billion was set by Disney in 2016.

The $7.67 billion figure includes $5.09 billion amassed overseas. It’s the first time any Hollywood studio has surpassed the $5 billion threshold internationally.

Already this year, three Disney titles have crossed $1 billion worldwide, not to mention that Marvel Studios’ Avengers: Endgame ($2.79 billion) has surpassed Avatar to become the top-grossing film of all time. Fellow Marvel pic Captain Marvel finished its run with $1.23 billion.

Disney’s live-action Aladdin rode its magic carpet past the $1 billion mark last week, while The Lion King is on the verge of achieving the milestone after finishing Sunday with a worldwide total of $962.7 million after just two weeks in release.

And don’t forget Disney/Pixar’s Toy Story 4, which is likely to top $1 billion in the coming weeks. If so, Disney will set a new high-water mark for the number of $1 billion-plus films released in a given year (it set the current record in 2016 with four).

Disney accounts for as much as 45 percent of the $16 billion-plus collected worldwide so far this year by movies released on more than 1,000 screens, including revenue from titles inherited following the Disney-Fox merger. In stark contrast, the next closest studio, Warner Bros., has taken in just shy of $2 billion.

The devil, so to speak, is in the details. Devil Mouse movies are doing very well on a superficial level, but the Great Rat is rapidly devouring its seed corn and riding on the inertia of its past successes. It probably has one more good year in it before the numbers begin to turn south and the rapid decline begins.