RUTHFULLY YOURS

https://www.nationalreview.com/news/will-smith-apologizes-for-slapping-chris-rock-at-oscars/

Will Smith has apologized for slapping Chris Rock at the Academy Awards on Sunday night, after the comedian told a joke about Smith’s wife, Jada Pinkett Smith.

“My behavior at last night’s Academy Awards was unacceptable and inexcusable. Jokes at my expense are a part of the job, but a joke about Jada’s medical condition was too much for me to bear and I reacted emotionally,” Smith said in a statement posted on his Instagram account on Monday evening.

“I would like to publicly apologize to you, Chris. I was out of line and I was wrong,” Smith added. “I am embarrassed and my actions were not indicative of the man I want to be.”

Smith closed his statement by saying “I am a work in progress.”

https://www.americanthinker.com/articles/2022/03/the_false_gospel_of_the_enemies_within_the_church.html

An unholy crusade to infiltrate the bastions of Christianity and co-opt churches in the revolution began more than a hundred years ago

Christianity has been intricately intertwined with the history and development of America and greatly contributed to its strength.  Judeo-Christian morality, in fact, has been the compass and one of the most powerful influences on Western society.  So, the Marxists see Christianity as the main obstacle to overthrowing Westphalian principles of sovereignty. To them, the church is the most crucial institution to conquer to usher in the New World Order.  They know that if the churches fail – especially in America, which represents the phenomenal success of capitalism and individualism – the entire culture, including politics, will move to the Left. 

Most Americans will be surprised to learn that an unholy crusade to infiltrate the bastions of Christianity and co-opt churches in the revolution began more than a hundred years ago. It is now threatening to gain critical mass.

This danger is the subject of a new film, Enemies Within the Church, produced by Cary Gordon, Trevor Loudon, and Judd Saul.  It chronicles the destructive infiltration of the churches and the injection of “wokeism” — Marxism, social justice, Critical Race Theory, gender fluidity – into church doctrine.  The choir of radical Left ideology, having targeted and gradually co-opted the media, Hollywood, Big Tech, the unions, and the political parties, set its sights on penetrating and controlling the churches, a difficult, long-term endeavor.  And, as the film explains, the communists eventually succeeded in penetrating the Bible colleges, seminaries, and pulpits of many denominations to push Christianity in the direction they want.

https://www.nationalreview.com/corner/will-smith-appears-to-strike-and-berate-chris-rock-during-live-oscar-broadcast/?utm_

Will Smith lost his temper after presenter Chris Rock made a joke about his wife’s haircut at the Oscars tonight. ABC apparently censored the moment by silencing the feed for a few seconds, but here’s what happened.

Jada Pinkett Smith, with a shaved head, was seated at a table up front with her husband Will. Rock: “Jada, I love you, G.I. Jane 2, can’t wait to see it!” Will Smith then came up on stage, appeared to strike Rock, and the audience seemed to react as though this were a scripted bit. But Smith twice shouted, “KEEP MY WIFE’S NAME OUT YOUR F***IN MOUTH!” and the crowd went silent. I don’t think Smith’s reaction was scripted. UPDATE: Jada Pinkett Smith suffers from alopecia, a condition that causes hair loss.

Here’s the moment as someone caught it without ABC’s censorship. Warning: profanity.

https://www.frontpagemag.com/fpm/2022/03/tirades-twits-bruce-bawer/

It all goes back to the 1970s, as do so many of the worst features of contemporary American society and culture. At the 1974 Oscar ceremony, Roger Moore and Liv Ullmann stepped onstage to present the Best Actor award. For some reason, Ullmann decided to quote her frequent collaborator Ingmar Bergman: “Often to be most eloquent is to be silent.” This aperçu didn’t seem particularly relevant at the moment, but about five minutes later it would seem the very deepest wisdom.

Anyway, Moore and Ullmann broke out the envelope. The winner: Marlon Brando for The Godfather. But the person who walked down the aisle to accept the award wasn’t Brando. It was a young woman in an American Indian getup straight out of Central Casting. When Moore held the statuette out to her, she held up her palm to refuse it. And then she spoke.

“Hello. My name is Sacheen Littlefeather. I’m Apache and I am president of the National Native American Affirmative Image Committee. I’m representing Marlon Brando this evening.” Brando, she explained, was turning down his Oscar in protest against “the treatment of American Indians today by the film industry…and on television in movie re-runs.” He was, she added, also displeased by the government’s aggressive response to the recent occupation of the town of Wounded Knee, South Dakota, by members of the Oglala Lakota tribe.

https://quadrant.org.au/magazine/2022/01/the-saboteurs-stopping-hitlers-atomic-bomb/

The six-part television series The Saboteurs (2015, originally titled Kampen om Tungtvannet, “The Heavy Water War”) was directed by Per-Olav Sørensen, written by Petter S. Rosenlund and produced by the Norwegian Broadcasting Corporation. The story focuses on the Nazis’ efforts to develop an atomic bomb during the Second World War and how they were foiled by a small group of Norwegian resistance fighters.

The series is told from four different perspectives: the German side, the Allies’ side, the saboteurs’ point of view, and that of Norsk Hydro, the plant ordered to produce the rare and essential component for the construction of an atomic weapon: heavy water, or deuterium oxide.

The series begins in Berlin in 1938. Hitler has been in control of Germany since 1933. Professor Werner Karl Heisenberg, recipient of the 1932 Nobel Prize in Physics, is invited to lecture at Columbia University but he refuses to leave Germany. He is visited by the SS and interrogated about his refusal to join the Nazi Party or participate in the 1938 Nuremberg Rally, and for quoting Jews, such as Max Born and Albert Einstein, in his research papers.  

As a chastisement, he is ordered to report for army duty but a last-minute letter from Himmler (whose mother was a friend of Heisenberg’s mother) gains him an exemption from fighting because, as Himmler states, “Germany
needs its scientists.”

https://www.frontpagemag.com/fpm/2022/02/netflix-neo-nazis-american-patriots-mark-tapson/

The Nazis have always been Hollywood’s go-to villains, the bad guys every American who isn’t an antisemite or eugenicist can agree are the epitome of evil. They also serve as a convenient substitute when Hollywood doesn’t want to address America’s real-world enemies; in 2001, for example, when filmmakers were adapting Tom Clancy’s thriller The Sum of All Fears for the big screen, they changed the antagonists from Arab terrorists to European neo-Nazis. But Hollywood’s neo-Nazis of today are – you guessed it – American patriots.

Case in point: In the Shadow of the Moon, a late 2019 addition to Netflix’s repertoire which is unlikely to have been seen by the vast and growing numbers of conservatives who have cancelled their subscription to the left-leaning streaming giant, the home of production deals with such radicals as Barack and Michelle Obama, Black Lives Matter founder Patrisse Cullors, and anthem-protesting Colin Kaepernick. For that matter, the movie is unlikely to have been seen by very many people of any political stripe, because it’s not worth watching; its audience rating at the Rotten Tomatoes movie review site is a blah 40, and the rating at Metacritics isn’t much higher (I watch these things so you don’t have to). But the film is notable as a reminder that the entertainment industry is the left’s most powerful weapon for fashioning and disseminating the narrative that American patriots are actually white supremacist domestic terrorists threatening to push the country into a hot civil war.

https://www.frontpagemag.com/point/2022/01/hollywood-wokeness-becoming-parody-itself-daniel-greenfield/

If only someone in the industry had the guts to actually give this garbage the ridicule it deserves.

Actor Peter Dinklage is questioning the upcoming live-action remake of “Snow White and the Seven Dwarfs,” saying it “makes no sense” why Disney is retelling the “backwards story.”

“No offense to anybody, I was a little taken aback when they were very proud to cast a Latina actress as Snow White. You’re still telling the story of ‘Snow White and the Seven Dwarfs.’ Take a step back and look at what you’re doing there. It makes no sense to me,” said Dinklage.

“You’re progressive in one way and you’re still making that f—ing backwards story about seven dwarfs living in a cave together, what the f— are you doing man?” Dinklage added. “Have I done nothing to advance the cause from my soapbox? I guess I’m not loud enough.”

“All love and respect to the actress and the people who thought they were doing the right thing, but I’m just saying, what are you doing?” the actor added. “And if you tell the story of Snow White with the most f—— up, cool, progressive spin on it, let’s do it. All in. But I don’t know.”

https://www.nationalreview.com/2022/01/an-insider-mocks-the-endless-progressive-guilt-trip/

Jesse Eisenberg’s directorial debut When You Finish Saving the World skewers the culture of liberal self-scourging.

A n intensely determined social worker played by Julianne Moore drives to work listening to equally intense classical music suggesting her utter, lifelong focus on a dramatic struggle for social justice. Then the camera pulls back to reveal the car she’s in: a pathetic, absurd, lawnmower-sized demi-car.

That’s the kind of perfect juxtaposition — funny, cutting, woefully accurate — that characterizes every smartly-designed scene in When You Finish Saving the World, the sly directorial debut of actor-writer Jesse Eisenberg. Eisenberg (who also wrote the movie, which began as a podcast) politely but devastatingly lampoons the sorts of people he grew up with and works among. And the Sundance Film Festival (where slick Beverly Hills dealmakers in $1,500 ski jackets solemnly take part in “land acknowledgment” ceremonies to parade their guilt about being the heirs of colonialism) is the perfect showcase for the film. Sundance (which is a virtual fest this year) has always hosted an intriguing balance of ruthless Hollywood ambition and silly liberal self-scourging. It can only benefit from taking in a bit of satiric blasphemy about its audience’s culture and politics.