The Economist magazine has inadvertently endorsed A Quiet Place, at least as far as libertarians are concerned, by criticizing its pro-gun message: “One of the fondest fantasies of Second Amendment obsessives is that a private citizen with a box of ammunition could fend off the US Army, should the need arise, and that fantasy is endorsed by ‘A Quiet Place’, in which gun-toting farmers fare better against the aliens than the entire American war machine.” Suddenly the film seems interesting.
Twenty-five years ago today, a religious commune in Waco, Texas was raided by FBI and BATF, resulting in the holocaust of 76 people including children, burnt alive. The Academy-Award nominated documentary Waco: Rules of Engagement was made about the tragedy. As Roger Ebert put it at the time, “Whatever happened at Waco, these facts remain: It is not against the law to hold irregular religious beliefs. It is not illegal to hold and trade firearms. It is legal to defend your own home against armed assault, if that assault is illegal. It is impossible to see this film without reflecting that the federal government, from the top down, treated the Branch Davidians as if those rights did not apply.”
Per Reason, a pre-open showing of the anti- eminent domain film Little Pink House sold out. “On Sunday, they held the official premiere in New London itself, in the massive, 1,400-seat Garde Arts Center. Did they have trouble filling the seats? Nope: It sold out, and so many people had to be turned away at the door that they’ve booked the theater again in two weeks. ‘Throughout the film it wasn’t uncommon for applause—or light sneers—to break out as moviegoers recognized people and events including the much maligned former Gov. John Rowland,’ reports Charles Clark of The Day, a New London newspaper. ‘Overall the film was well-received, receiving raucous applause when it ended.’ Reports Little Pink House co-executive producer (and Reason Foundation trustee) Kerry Welsh, who was in attendance: ‘It was off-the-charts crazy.'”
The left has always been about the narrative, now that’s being applied literally to progressive campaigns. Per McClatchyDC.com, “Hollywood screenwriters offered training on how to tell a personal story, teaching candidates to identify and highlight compelling parts of their personal biographies.”
The Los Angeles street artist who calls himself Sabo — and who gained fame for mocking hypocrisy in progressive Hollywood and social media — has been banned from twitter. As is common among the Orwellian social giants, no explanation was offered. “They told me nothing or for how long,” Sabo told TheWrap about his exile. “His account had approximately 30,000 followers. Twitter has not responded to multiple requests for comment from TheWrap.” Last week, libertarian comedian Owen Benjamin was banned from twitter.
Sabo’s treatment reminds me of of this Kafka segment from The Trial.
So what would happen if you went to an Antifa rally and simply held a sign advocating free speech? One intrepid free speech hero decided to find out. This short clip rips the lid off of Antifa’s “anti-fascist” credentials — like no film I have ever seen before — to reveal the seething, angry, violent fascists they actually are.
Note that this is a pure case scenario. A completely nonviolent man — he says almost nothing, and does almost nothing, expressing himself in remarkably peaceful, one might even say passive, manner — just holding a sign with the innocuous message, “The right to openly discuss ideas must be defended.” All the action, all the aggression, is initiated by Antifa.
Note also the Orwellian use of language by the Antifa activists. They shout “no Nazis!,” “no platform for racism!,” “no platform for homophobia!,” “no platform for white supremacy!,” etc., as though his silent message for free speech were advocating these things and therefore threatening them, and once establishing that through repetition, they move forward as a group — a dozen at least against one — physically driving him out. This is exactly how the “speech is violence” concept works. If what you say offends me, it constitutes “violence,” and therefore I am “defending myself” by getting actually violent toward you. It’s a neat justification for the kind of political violence the left has long been itching for.
Per the Washington Times, “Hollywood declared war on American gun culture in 2013 with a public service announcement calling for stricter gun control in the wake of the Sandy Hook Elementary School shooting. Yet a study by the Parents Television Council shows that portrayals of gun violence on television have increased dramatically in recent years, even in shows deemed appropriate for children.”
Per Breitbart, “Attempting to access the Owen Benjamin Twitter account, which had over 120,000 followers before its suspension, now returns users with a notice reading, ‘This account has been suspended.'”
Per the Hollywood Reporter, “Rep. Jamie Raskin, a Democrat from Maryland, and Rep. Dana Rohrabacher, a Republican from California, have signed on. Members of Congress and U.S. senators — Democrats and Republicans alike — are set to view an eminent domain feature film at a theater located in the Capitol building on April 17.” Little Pink House will be released in theaters more broadly on April 20th.
Box Office Mojo is currently estimating Chappaquiddick’s opening weekend sales at $5.8 million, nearly double the $3.1 million box office analysts were projecting. Of nine films opening this weekend, Chappaquiddick ranks #3.
Rotten Tomatoes is showing a 79% rating among critics and 75% for audiences.
Chappaquiddick was lucky to make it to the big screen. It wasn’t backed by the usual Hollywood money, but by comedian Byron Allen, who bought Chappaquiddick for $20 million and became its producer. Although Allen has made many successful TV shows, he’s only just started to produce films. It’s unclear what his politics are but he was no fan of former President Obama, and he was originally discovered by comedian Jimmie “Dy-no-Mite” Walker, who has described himself as “an independent with libertarian leanings.”
Byron Allen told Variety last week, “Very powerful people tried to put pressure on me not to release this movie. They went out of their way to try and influence me in a negative way.”