The New York Post tries to suggest that the recent #MeToo/Social Justice Warrior movement is crippling Hollywood’s ability to create and innovate:
The fear of offending audiences isn’t limited to musicals about bratty teens. In this oversensitive era, TV shows, Oscar-worthy movies and pop music are all under pressure to be as nice as Betty Crocker. For millennia the best art has offended, tantalized, frightened, riled up and, of course, been life-affirming. But today the American public, looking more than ever like Soviet Russia, has just one rule for entertainers: Don’t rock the boat.
This year, however, A-list nominees like Denzel Washington, Meryl Streep and Allison Janney have been keeping a low profile, likely afraid journalists will want to chat less about their projects and more about Harvey Weinstein, Woody Allen and Kevin Spacey. Gaudy publicity stunts also could be seen as out-of-touch during a time when women have committed to wearing black dresses on the red carpet in solidarity with sexual harassment and abuse sufferers.
This long, solemn wake is an over-reaction that’s led to boredom and disinterest from the general public who actually pay to watch movies. People still love sex, sizzle and controversy — but the entertainment industry is too afraid to serve it up right now.
It’s hard to believe, but 60 years ago entertainers had more guts. If you want proof, tune into “The Marvelous Mrs. Maisel” on Amazon, an excellent new show about a fictional woman named Midge — clearly based on Joan Rivers — who starts a risky career as a stand-up comedienne in Greenwich Village in 1958. On stage, Midge makes jokes about her sex life, her Jewish upbringing and even rips off her top, exposing her breasts. As the crowd laps up the routine, the police arrest Midge for breaking obscenity laws.
That kind of courage, that willingness to shock and offend, is what made Rivers so exciting to watch. It’s what makes great comedy. But today’s comics are afraid to go too far, out of fear of the woke police.
Social justice warriors have infiltrated most entertainment industries. The author of this piece talks about Hollywood specifically, but this is a major issue across almost all fields of entertainment, as those who have followed Gamergate for video games, the NFL protests for pro sports, and Sad Puppies for science fiction will quickly understand.
In all of these cases, SJWs take over the industry in question, and heavily restrict the kind of content that can come out, and increasingly try to convert said industry into focusing more on promoting progressive politics to the exclusion of everything else, including the original mission of making money through entertaining people.
This never works, of course. Eventually the industry, when it reaches advanced stages of infestation, starts to collapse as normal people leave or are driven out by the religious zealots who have taken over. An good example of this advanced stage is what is going on with the comic book industry, as chronicled by Diversity & Comics.
The collapse always comes because the general public is not comprised of crazed leftist zealots, and they don’t think being given political lectures is entertaining. Because SJWs are zealots, they never learn and simply move on to the next industry to be destroyed.
That’s what happens when you put religious fanatics in charge of entertainment.