By MCN Editor editor@moviecitynews.com

Camille Paglia

“It is an absolute outrage how so many pampered, affluent, upper-middle-class professional women chronically spout snide anti-male feminist rhetoric, while they remain completely blind to the constant labor and sacrifices going on all around them as working-class men create and maintain the fabulous infrastructure that makes modern life possible in the Western world. Only a tiny number of women want to enter the trades where most of the nitty-gritty physical work is actually going on—plumbing, electricity, construction. Women have played virtually no role in the erection of those magnificent towers in every major city in the world. It’s men who operate the cranes or set the foundations or wash windows on the 85th floor. It’s men who troop out at 2:00 AM during an ice storm to restore power to neighborhoods where falling trees have brought down live wires. It’s men who mix the stinking, toxic cauldrons to spread steaming hot tar on city roofs. Last year in a nearby town, I drove by a huge, chaotic scene where emergency workers in hazmat suits were struggling with a giant pipe break, as raw sewage was pouring into the street. Of course all those workers up to their knees in a torrent of thick brown water were men! I’ve seen figures indicating that 92 per cent of people killed on the job are men—and it’s precisely because men are heroically doing most of the dangerous jobs in modern society. The bourgeois blindness of feminist leaders to low-status working-class labor by men is morally corrupt! Gay men, on the other hand, have always shown their awed admiration of working-class masculinity and fortitude. It’s no coincidence that a buff construction worker in a hard hat was one of the iconic personae of the gay disco group, the Village People, during the Studio 54 era!”
~ Camille Paglia Has A New Book To Sell

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“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray

 

“Hollywood executives can rattle off the rules for getting a movie approved by Chinese censors: no sex (too unseemly); no ghosts (too spiritual). Among 10 prohibited plot elements are “disrupts the social order” and “jeopardizes social morality.” Time travel is frowned upon because of its premise that individuals can change history. U.S. filmmakers sometimes anticipate Chinese censors and alter movies before their release. The Oscar-winning alien-invasion drama “Arrival” was edited to make a Chinese general appear less antagonistic before the film’s debut in China this year. For “Passengers,” the space adventure starring Chris Pratt and Jennifer Lawrence, a scene showing Mr. Pratt’s bare backside was removed, and a scene of Mr. Pratt chatting in Mandarin with a robot bartender was added.”
~ “Hollywood’s New Script”