RUTHFULLY YOURS

https://www.americanthinker.com/blog/2023/09/the_american_status_quo_as_we_edge_from_summer_to_fall.html

As we segue from the Month of the Autumn Leaf into the Month of the Pumpkin, let us contemplate a brief sketch of the status quo we face, in national defense, internationally, and domestically. And if some of these strike you as far-fetched, remember that, a mere decade ago, all of them would have struck you as far-fetched.

(1) National defense:

(a) We are at war with Russia, using Ukraine as our proxy.

(b) We are at war with China, although it has not yet become kinetic.

(c) China is preparing to invade Taiwan.

(d) China and Russia both have hypersonic missiles. We do not:

These weapons can attack with extreme speed, be launched from great distances, and evade most air defenses. They can carry conventional explosives or nuclear warheads. These weapons combine speed with the ability to fly at low altitudes and maneuver in flight, making them more difficult to spot by radar or satellite. That makes them almost impossible to intercept with current anti-missile systems. In a battle in the South China Sea, Beijing could use hypersonic missiles to more than double its reach, leaving U.S. ships in the region nearly defenseless, and could even strike Guam, home to thousands of U.S. troops and key military installations.

https://christopherrufo.com/p/the-downfall-of-ibram-kendi

During the height of the debate on critical race theory, Ibram X. Kendi, the Boston University professor of “antiracism,” attacked my work on MSNBC and other outlets. In response, I penned an op-ed for the New York Post warning that Kendi was the “false prophet of a dangerous and lucrative faith.”  

Now, a prediction I made—that Kendi’s unpopular ideology and bogus research would fail—has proven true. According to news reports, Kendi accumulated more than $40 million for his Center for Antiracist Research at BU, produced virtually no research, and then laid off nearly half of his employees, who accordingly accused him of mismanaging funds, failing to deliver key projects, and mistreating his team. In the wake of these allegations, Boston University announced an official investigation.

As I explained to John Roberts on Fox News:

This is part of a pattern that we saw in 2020. We saw record donations to groups like Black Lives Matter, to groups like Ibram Kendi’s so-called Anti-Racism Center, and now fast-forward three years and what we have seen is the BLM organization, the leaders looted it and headed to the hills. They decamped to their mansions and left the organization in shambles. And now we have Ibram Kendi’s Antiracism Center, which is the most spectacular academic failure in many years. They hoovered up $40 million and produced almost no research.

This really is at the heart of this movement. It’s empty. It’s nihilistic.

https://unherd.com/2023/09/will-hollywood-strike-back/

In the Fifties, television destroyed radio, many of whose stars were themselves survivors of the death of vaudeville, and persisted through radio and into film: The Marx Brothers, W.C. Fields. And many of the first movie stars had come first from the music halls, such as Chaplin; Will Rogers became a movie star after his pre-eminence in vaudeville.

But the movie stars were contemptuous of the New Form, and hung back until the dam broke. (I recall casting discussions in New York in the Seventies themed: “Do you think he would consider doing a Movie of the Week…?”) Still, television and film rubbed on, misharnessed, until the current amalgamation. In 2013, I wrote and directed an HBO film, Phil Spector. On hearing of it, my young son said: “Dad, you’re doing a Made-For-TV Movie. That’s shameful.”

Now the new technology has, again, upset the applecart. Streaming has forever disrupted the old means of distribution, which, after all, is the determining factor in disseminating information — and, so, in determining content. Industrial production requires and rewards economies of scale and expenditure. The corporation buys in bulk, with neither time nor interest in that which one might call artistic integrity, which a comptroller, looking at numbers alone, could only understand as insubordination. The actually talented — those disposed and able to bring their idiosyncratic vision (art) to manufacturing — are as much of an obstruction as Chinese devotees of Feng Shui would be to the Hyundai production line. (To disrupt a production line is the original meaning of sabotage.)

There is a hopscotch effect in show business — it may be universal, but this is the only racket I know. The entrepreneurs and adventurers jump on the new thing. Some become successful, and the creators, actors, hucksters and thugs may exist in some sort of equilibrium until the tide turns.

With the coming of television, producers searched out the famous, to draw the viewers, but also hired the unknowns to work cheap. Early TV scripts were farmed out, one or several at a time, to individual writers (previously known as “writers”). There was a writers’ room, generally, only in comedy shows. No writers’ rooms were required for horse operas, and Warner Television churned them out on their lot, distinguishable only by their theme-songs. With the success of The Industry, land values increased. The movie lots — belonging to Paramount, Warners, Universal, Fox — cut down or eliminated the backlots where the films were made, turning them into cash. (Century City was the backlot of 20th Century Fox.)