by Breitbart
Conservatives once roamed free in Tinseltown…back in the Golden Age of Hollywood. Studio head Louis B. Mayer was an outspoken Republican. John Wayne, Walt Disney, and Gary Cooper sat right-of-center…as did Ginger Rogers, Clark Gable, and Cecil B. DeMille. The Right played a prominent role in those early days. But now this company town is run almost entirely by liberals, and has been for over half a century. How were they able to make it a one-party city? “It’s the social part. It’s the personal,” said an industry veteran. “It’s psychological warfare.” In other words, leftists attacked social circles to freeze out conservatives.
I’ve seen this in action…when family “friends” – American Sniper screenwriter Jason Hall and his wife – started their own little war on women against my wife.
In late January 2017, my better half was reaching her wits end. President Trump had just been inaugurated, and what we were fast learning was that every time there was a major Trump development, the attacks on us from the most triggered Hollywood liberals spiked. In those moments, it becomes open season on the #MAGA folk. We typically enjoy a fight when provoked, but this time our little daughter was starting to feel their hate. I grew up dirt poor. My wife’s family comes from less than that just south of the Mexican/American border, but still managed to get here the way everyone should…legally. Suffice it to say, neither of us was well versed in dealing with the unhinged Tinseltown frich – or “fucking rich” to the uninitiated. Emotionally shaken, my wife turned to a friend – a seasoned Hollywood elite – to get some insight on how to navigate the situation.
Her buddy – a private school bred princess who literally matured around the likes of Michael Jackson in LA’s premiere zip code – listened to my wife’s tear-filled account of how our daughter felt under siege by Trump haters. In hindsight, confiding in someone who’d just marched in the anti-Trump Women’s March may have been ill advised – even if she was a trusted friend. If my wife were listening close enough, she would have heard the Body Snatcher howl as she set down the receiver.
Within a few hours her virtue-signaling screenwriter hubby, Jason Hall, barely gave my wife time for the tears to dry before he was on Facebook publicly ridiculing her for an article I’d written. Just a day earlier I’d published a Wall Street Journal OpEd arguing that the failing National Endowment for the Arts (NEA) needed to be replaced with an arts council to better serve the needs of the creative community. This was a subject I knew something about. Andrew Breitbart sponsored me for a Pulitzer for a story I’d broken on the politicization of the NEA. The articles led to the resignation of a high-ranking NEA official and new White House-issued conduct guidelines.
My wife, who at the time didn’t really express her political views on social media, proudly posted her husband’s new piece on Facebook. Mr. Hall responded – posting an odd image of a hairy-faced woman.
“Is it Jason’s mom?” my wife quipped. “She’s got his same resting bitch face.”
“Nah,” I responded. “She looks far too feminine to be his mother.”
After a quick perusal of his social media posts, we deduced it was intended to be a Trump impersonator dressed in drag. Ironically, the screenwriter for one of the biggest conservative movies in years was glaringly anti-Trump. Mr. Hall followed the post with the outrageous claim that I was trying to “kill the arts.” Either he didn’t peruse my NEA article, or reading comprehension doesn’t come default in screenwriters.
Fast-forward a few months, and it was Mrs. Hall’s turn to take a few unprovoked punches at my wife…and our daughter. Having just received news from our doctor that my wife had no new tumor growth, my better half posted on Instagram how she felt privileged to watch our daughter grow up. When you’ve battled near death and come out on the other side, you gain a new value for time. Mrs. Hall, who at times is embarrassed of her white skin color, responded to the post by mocking my wife’s “privilege” – and suggested my daughter would fall on bad health due to Trumpcare. Politicizing a post about our daughter was low, but par for the course for the triggered left. Ridiculing a brown woman’s “privilege,” whose parent literally sold gum at the Tijuana border, when you’ve grown up in a mansion surrounded by global music superstars…well, that unlocks a whole new level of clueless. Daddy’s money couldn’t save Mrs. Hall from the beast lurking inside my wife. The beast delivered the same verbal uppercut that propelled her out of da hood, and that was the end of that. Mrs. Hall has since been seen hangin’ out with Mrs. Creepy.
If this social media skirmish seems minor, you don’t know how this company town works. In his last big screen outing, Jason Hall was nominated for an Academy Award for his adapted screenplay American Sniper. In Movie City, an Oscar nom puts you in God category – guaranteeing VIP status on the coveted “cocktail party” circuit. So being shamed by these Tinseltown elites for all mutual friends to see sends a message to your Hollywood social circle: act accordingly.
This is one of the ways Hollywood stays liberal – by making a public example of right-wingers. It doesn’t matter if your rise comes on the back of massive support by conservatives at the box office. Right-wingers, even friends and especially Trump supporters, must be Scarlet Lettered and humiliated. But anyway, be sure to catch Jason Hall’s directorial debut with Thank You For Your Service – a movie about Iraq and Afghanistan induced PTSD…out October 27th. And spoiler alert… Amy Schumer is in it. (Jason Hall did not respond to a request for comment.)
“Coming off of the House Un-American Activities’ actions in the early 50s I think caused everybody to move to kind of a left position.” – Clint Eastwood
The view that Hollywood is run almost entirely by liberals is not just a myth…it’s scientifically verifiable. Every year starting in 2016, The Hollywood Reporterpublishes the “THR 100” where they rank from 1 to 100 the most powerful people in entertainment. The list includes more than one hundred names because some ranks have multiple people. For example, the 2017 ranking has Brad Pitt and his partners in Plan B – Jeremy Kleiner and Dede Gardner – occupying rank #48. Rupert Murdoch and his two sons occupy rank #5.
By mining publicly published information – including campaign finance data, public statements, and verifiable social media accounts – one can reasonably conclude the political leanings of Hollywood’s most powerful…and the ratio is telling.
* By analyzing the campaign donations, public statements, and verifiable social media accounts of The Hollywood Reporter’s 2017 Most Powerful People in Entertainment
The most powerful people in Hollywood identify as left-of-center compared to right-of-center by a ratio of almost 26 to 1. And as we’ve already seen, out of the 240 available nominees for lead and supporting actors in a scripted role at Hollywood’s top award shows, there wasn’t a single verifiably right-of-center actor. Not one.
When blacks claimed a lack of diversity approaching this level of disparity for just one award show, a national debate branded #OscarsSoWhite swept the nation. Not so much as a peep has been heard from the media about Movie City’s snub of rightwingers.
As the one-and-only John Nolte would say, the science is settled. Hollywood is a one-party city.
How did Tinseltown become so damn liberal in the first place? Its leftward lurch can largely be traced back to one era – the age of the so-called Hollywood Blacklist. This period started in 1947 when nine screenwriters and one film director appeared before the House Un-American Activities Committee (HUAC) to answer to their Communist Party ties. When the group, who came to be known as the Hollywood Ten, refused to answer, each were found guilty of contempt of Congress, sentenced to a year in jail and blacklisted by the film studios. The banishment subsided in 1960 when one of the ten, screenwriter and communist Dalton Trumbo, was openly given screen credit.
Hollywood has long glorified the blacklisted filmmakers of this time. The Frontstarring Woody Allen. Guilty by Suspicion starring Robert De Niro. Trumbostarring Bryan Cranston. The era is usually characterized as a conservative led witch-hunt against heroes of free speech. But like our current fake news-loving mainstream media, Tinseltown has hidden a big part of the story. Why? Because it exposes how the left first made Hollywood into the liberal colony it is today.
At the birth of Hollywood’s film industry, the entire enterprise was plagued with conflict. Municipal and state censorship boards, patent enforcers, and decency groups all threatened to block film producers’ from freely making and exhibiting their movies. To fight back against this opposition, the Hollywood studios of the time decided to join forces through trade associations, like the Motion Pictures Association of America (MPAA), to focus their defense. As trying as those early battles were, working together had a notable benefit for the studios…it created major roadblocks for all future newcomers. By the late 1920s, the film industry was already becoming an oligopoly – where, through collusion, an industry reduces competition and eventually is dominated by a very small number of players. The barriers to entry have been so enduring and impenetrable that all of the major studios that exist today have their roots in this early era.
With this near-monopolistic power, some abuses followed – including studio executives cheating writers out of screenplay credits. So in 1933, the Writers Guild of America, then known as the Screen Writers Guild, formed to establish criteria for doling out these important recognitions. On paper, the effort appeared laudable. However, the union’s covert mission was far more Machiavellian – they wanted to control the supply of screenplays for the entire movie industry. If they controlled the documents on which movies were made, they could wield that power to force studios to submit to their demands – including control over film content. The problem was…the most active players in the Writers Guild were literally communists. Its first president was John Howard Lawson, who shortly after the formation of the guild was named the head of the Hollywood division of the Communist Party USA. He would later become one of the blacklisted Hollywood Ten.
“John Howard Lawson enforced the Stalinist line in Hollywood,” says Allan H. Ryskind in his revealing book Hollywood Traitors. Writers under Lawson’s thumb couldn’t just freely write…they had to ask for permission from The Party. Lawson even reviewed screenplays before the studios. In one instance, when a screenwriter published an essay about how politics should stay out of their art – Lawson wrote a scathing rebuttal, entitled “Art is a Weapon”, arguing that the writer’s thoughts betrayed Marxism. The offending screenwriter literally crawled to repent before Lawson and Dalton Trumbo at a Communist Party meeting.
“In Hollywood in the thirties, the Communist Party was barely distinguishable in policy and activities from the noncommunist Left,” claimed Sheila Schwartz in her 1982 book The Hollywood Writers’ Wars. After the Writers Guild won a prolonged fight against studios and the rival Screen Playwrights union to be recognized as the sole union representing screenwriters, the radical left within the guild, who now were the ranking members, took the reigns. Many members started sensing this power shift, including Morrie Ryskind – legendary screenwriter of many Marx Brothers movies and a key player in winning studio recognition for the guild.
“The top honors for an unswerving [Writers Guild] commitment rightfully belong to that bloc in our midst who hoped to use the guild as the power base that would enable them to bring all facets of the motion picture industry under the control of one all-encompassing super union which would be controlled by and serve the purposes of the Communist Party,” said Morrie in his autobiography I Shot an Elephant in My Pajamas. Now in control of the Writers Guild, the far-left began squeezing out those that didn’t think like them. They were pioneering the greylist conservatives face today.
“The radical liberals were going to take over our business,” John Wayne once stated describing the environment at the time. “They were getting themselves into a position where they could control who would do the writing.” Their power was so entrenched that one communist screenwriter, who witnessed his colleague crawl before Lawson to repent, wanted to quit The Party but didn’t know how because, “[the communists] were placed in strategic positions throughout the industry…withdrawal from them would have meant professional and economic suicide.”
So in 1944, Morrie Ryskind along with Walt Disney, Clark Gable, Cecil B. DeMille, Gary Cooper, and later John Wayne, formed the first Hollywood conservative group to fight the industry’s takeover by the radical left. Called the Motion Picture Alliance for the Preservation of American Ideals (MPA) – in essence, the group was attempting to resist the future that Hollywood has become. If purging communists from Hollywood were a fool’s errand, as many now want us to believe, you couldn’t tell from the heavyweights it attracted. Leaders throughout Hollywood asked Congress to look into the growing Red infiltration into their industry.
“The thing that I resent the most is that [the communists] are able to get into these unions, and take ‘em over,” stated Walt Disney to the House Un-American Activities Committee. “And I feel that they really oughta be smoked out and shown up for what they are…” This was no light matter. Stalin killed millions of his own citizens. The communist threat in America was greater than Islamic extremists today because many in power positions were aligned with their cause, including in Tinseltown. “The Party [Hollywood communists] wholeheartedly embraced…was pledging to overthrow the U.S. government, by force and violence if necessary,” states Morrie’s son Allan H. Ryskind. No wonder the rise of the hammer and sickle adorned Antifa seemed to be welcomed by some within Hollywood.
Actor Orson Bean knows more than most about this era. The 89 year-old comedy icon found himself on the blacklist in the 1950s. He wasn’t actually a Communist Party sympathizer – he considered himself a “little lefty.” But he attended a communist event because he was, in his words, “horny for a Communist girl” that wanted to go. “I wanted to show her I was politically aware,” he says, in his signature vocal flair. At the time, Orson was everywhere. He was a regular on the Ed Sullivan Show. He was acting in dramatic programs on television. CBS produced a pilot for an Orson Bean Show. But when his name hit the blacklist, all of that went away. He was banished from TV and film for a year.
Orson is a case study in how the blacklist ensnared innocents. But even after his ordeal, he is clear on how the era got kicked off. “The blacklist of people on the left grew out of a defacto blacklist of people on the right within the industry,” recalls Orson. “There was communist directors, members of The Party, who only would cast you if you were also a member of The Party, or they were trying to woo you as a member of The Party. A lot of rightwing actors…were really furious at them. So when the Cold War happened…these rightwing actors, who had been seething for years about the way the communists were infiltrating the Hollywood business and were infiltrating the unions too, took their revenge. I don’t think that story’s ever been written because it’s not attractive for the Left.”
Orson isn’t alone in remembering this lost history.
“Morrie Ryskind, who was a Pulitzer Prize winner, couldn’t get a job because he didn’t think exactly like these fellows,” recalled John Wayne.
After testifying before the House Un-American Activities Committee as a “friendly witness”, the extraordinarily talented Morrie never received another offer from a studio again – and neither did other screenwriters that testified against communism in Hollywood. When the “official” blacklist era ended, liberals continued where they left off – freezing out conservatives…to far better effect.
“I think there’s a reverse blacklist, even today,” said director and Hollywood Ten member Edward Dmytryk in Hollywood on Trial, a 1976 documentary about the blacklist. “I think that the liberals who are riding high, are going in the opposite direction. I think some of the fellas back then, who were on the reactionary side, are having a tough time getting jobs now.”
This greylist has been fully institutionalized. “The Writers Guild of America, my union, is at a minimum 99 percent leftist liberal and, like me, socialist,” said screenwriter and MSNBC host Lawrence O’Donnell in 2003. In the wake of the blacklist era, the left gained complete control of La La Land using a tactic they now vilify on the big screen. In a sense, it’s a weird tribute to Morrie Ryskind, John Wayne, Cecile B. DeMille and the others concerned about how the far-left storytellers could use movies to rewrite history.
“Being not a communist is grounds for dismissal now,” says Gavin McInnes about being a right-winger in showbiz. The co-founder of Vice Magazine, Gavin is unquestionably one of the funniest people on the planet. From the founding of Vice in 1994 until he left in 2008, its comedic voice was his voice – and it was one that comedians wished to emulate. “Their brand of humor is what I would do if there were no ‘standards and practices’ on TV,” said Jimmy Kimmel about Vice during Gavin’s helm.
After leaving the magazine due to creative differences with his partners – he came up against Hollywood’s liberal enforcers. “Jimmy Miller is Dennis Miller’s brother. He’s one of the biggest managers in comedy. He managed Will Ferrell, Jim Carey. He took a real shining to me after I left Vice,” says Gavin. “Things were going great. And then he found out I was right wing. He didn’t ‘X’ me per se, but it’s exactly like being known as a pedophile…no one likes a pedophile.” (Jimmy Miller did not respond to a request for comment.) Since the election of Trump, even with his star on the rise among the right and a new show on CRTV, his entertainment peers have become even more intolerant. “I’ve lost 100% of my friends that are in comedy. I’ve lost 100% of my celebrity friends.”
This ploy keeping Hollywood a liberal bastion is subtle, but extraordinarily effective – smoke out right-wingers and their sympathizers, spread the word of their apostasy, freeze them out, repeat. This process is seen in every crevice of Tinseltown, and it quietly teaches a lesson to all watching.
An early example of this was John Milius. The extraordinary screenwriter known for Apocalypse Now, Conan the Barbarian and his gift with dialogue – including Dirty Harry’s “Go ahead, make my day” – became a target of liberal film critics after the success of his 1984 movie Red Dawn, which showed communists as villains. Set in an alt-history where the Soviet Union raids the U.S., the invaders are defeated by armed high school students in a bloody ground war.
“That was the point where [film critics] said, ‘He’s gone too far. Now we’ve got to shut him down,’” said Milius in the 2013 documentary Milius. The rightwing-minded screenwriter never fully recovered from the critic backlash. “I’ve been blacklisted probably since [Red Dawn]. I’ve been blacklisted as surely as anybody in the 50s. I should have made twenty more films.”
Mel Gibson’s epic 2004 movie Passion of the Christ was by every measure a massive success. The $30 million budget grossed a whopping $611 million global box office. Yet after playing Jesus, the then-rising star Jim Caviezel claimed offers dried up and many in the industry began shunning him. And the film critics, almost uniformly liberal, savaged the movie.
Fast-forward to the era of Trump, and the far-left enforcers are working overtime.
Adult Swim canceled Million Dollar Extreme’s show in December 2016. The ratings were stellar, but it came under fire after a Buzzfeed hit piece branded the comedians pro-Trump. However, the outcry didn’t come from the public. It came from fellow liberal comics. The comedy troupe now claims to be completely blacklisted from mainstream television.
In early January 2017, an anonymous email went out to members of the Directors Guild of America (DGA) suggesting that they would be blacklisted if they worked on the TV broadcast of Trump’s inauguration. Recipients thought the message was sent from someone of rank at the DGA. A union spokesperson confirmed with Breitbart News that they performed an investigation and were unable to identify the perpetrator of the email.
When actress Nicole Kidman made the fairly benign statement days before the Inauguration that Americans should move on from the election and unite in support of the new president – third-generation TV writer Joss Whedon played the enforcer of Hollywood’s one-party system by mocking Kidman’s looks, and labeling her a “Puppet for Trump.” Seemingly fearing further retribution, Kidman quickly backed off her statement.
In March, when asked by Jimmy Kimmel if he’d attended Trump’s inauguration, actor and self-professed conservative Tim Allen hesitantly replied yes, joking that he had to answer carefully in a Hollywood that was acting like 1930s Germany. The liberal mainstream media savaged him for his statement, and his TV show, Last Man Standing, with the second highest viewership for a comedy on ABC, was canceled within months. The initial reason given was “scheduling” issues. But the “issue” may have been with ABC’s head of scheduling, Andy Kubitz – who decides whether a show lives or dies, and also happens to be decidedly anti-Trump. (When reached for comment, Disney maintained their denial that politics played a role in the cancellation of the popular show.)
The Deep Hollywood enforcers are everywhere, at every level…ejecting the deplorables while fortifying the liberal wall. It’s a process they’ve been employing and perfecting since the 1930s, with undeniable results.
When the reality of Tinseltown’s one-party system sets in – the question of “why does Hollywood hate conservatives” is easily answered.
Hollywood doesn’t hate the right because they think they’re racists. Hillary Clinton called former Ku Klux Klan member Robert Byrd her “friend and mentor”, reportedly called a black servant the n-word, suggested blacks were “super predators”, and her husband not only made racially insensitive remarksabout Obama, but golfed at and was literally a member of an all-white country club. But Hollywood still wanted to hoist Hillary and her husband back into the White House.
Hollywood doesn’t hate the right because they’re misogynists. They wanted to make the man who invented the intern-flavored cigar the first First Gentleman. Their 2016 candidate’s “philanthropic” foundation took millions from countries known for their horrific record of violence against women. Hillary serially attacked the ladies who claimed her husband raped and/or assaulted them. When Trump’s lewd hot mic moment hit the news cycle, celebs were on script with Oscar-worthy displays of disgust. But when a recording of Hillary surfaced laughing about getting the accused rapist of a 12 year-old girl off – the seasoned actors forgot their lines…as they did for decades about Harvey Weinstein’s alleged assaults.
Hollywood doesn’t hate the right because they’re homophobes. Celebrities flocked to the Women’s March…organized by a Muslim activist who advocates for Sharia Law – the same Islamic-based ideology that condones the capital punishment of gays and seeded the hate that led to the slaughter of almost fifty gay Americans at an Orlando nightclub. Hillary didn’t support gay marriage until it was politically expedient in 2013. And Tinseltown’s 2016 candidate wanted to massively increasethe intake of an ideology that throws gays from rooftops, with no way of knowing whether they’ve adequately vetted out that corrosive belief.
Hollywood doesn’t hate the right because they’re anti-illegal immigrant. Hillary Clinton and Barack Obama voted for and supported the Secure Fence Act of 2006 that provides the legal mechanism to build a border wall, an Act that then-senator Obama praised. Obama spoke out forcefully against illegal immigration, and Hillary herself said she supported deporting illegal immigrant lawbreakers and building a barrier at our Southern border. President Trump’s positions on immigration are basically President Clinton’s positions on immigration – the latter being Hollywood’s original god king. And contrary to their rhetoric, Hollywood actually loves building walls around their families – they just don’t call them walls…they call them private schools.
Hollywood doesn’t hate the right because of its skepticism on apocalyptic global warming climate change. Their ambassador of green living, Leonardo DiCaprio, has the carbon footprint of Godzilla. Hollywood applauds climate films by Al Gore – who made his fuck you money by selling his cable network to an organization funded by fossil fuels. The Clinton Foundation took millions from the oil rich countries of Saudi Arabia and Qatar. And we all know how much Hollywood loves Leo, Al, and Hillary.
Hollywood doesn’t hate conservatives because they think they are actually racists, sexist, homophobic, anti-immigrant, climate deniers. No. They hate the right for the same reason that the Crips hate the Bloods, the Hutu hate the Tutsi, the Tijuana Cartel hates the Sinaloa Cartel, and New York Mets fans hate the Yankees. It’s tribal.
After the unions won studio recognition, the far-left firmly planted its cartel in Tinseltown by methodically eliminating rival conservatives on their turf…and they’ve been printing money and pummeling culture with one perspective ever since. Movie City only elevates those that will continue professing the Left’s supremacy – or will at least remain quiet while it’s being promoted. Deep Hollywood invokes the tribal triggers of racist, sexist, anti-immigrant, anti-science, and homophobe whenever their power is being threatened. And if any well-meaning Tinseltowner publicly shows even a whiff of support for the right – especially President Trump – their membership to this gilded enclave is either suspended or revoked.
In a recent interview with Adam Carolla, Silicon Valley’s Jimmy O. Yang described a time he spoke with a studio executive, trying to understand how an actor is selected for a part. “I’m like ‘oh does it really matter how many Instagram followers somebody has?’ And then she was like, ‘I do check the Instagrams to see if there’s anything weird. If they get drunk everyday, or if they’re a Trump supporter. Then I don’t know, I would have a hard time.’”
If that isn’t a defacto blacklist, then what is?
Robert Davi is a four-decade veteran in Hollywood, and one of the few right-of-center talents with the cajones to speak his mind. It just takes one conversation with this gifted character actor to know he’s seen all Tinseltown has to offer…and take. When the topic of blacklisting came up, it touched a nerve.
“Look. I know there’s a blacklist. There’s a blacklist! Everybody should stop the bullshit [pretending] there’s not a blacklist! There’s a blacklist,” he said with the guttural force that reminds you why he’s in this business. “It’s acceptable in Hollywood. And nobody’s doing anything about it. There’s a blacklist! Alright?!”
It’s a fact of life for conservatives in La La Land. So to survive, they operate in one of three modes. There’s the attacked. This is talent that lets their politics be known…and gets dutifully pummeled for it. “We’re kind of like the turd in the punch bowl,” says Phelim McAleer, a journalist and filmmaker. “People don’t want to be seen with us in some respects.” To survive here, you need to be resourceful – something Phelim and his partners Ann McElhinney and Magda Segieda have figured out. They broke the record for crowdfunding on Indiegogo for their film about the serial killer abortionist Kermit Gosnell.
Next are the old-timers. These are proven actors and filmmakers that let their politics be known, have been in the business for a while, and as a result are largely immune from attack. Clint Eastwood, Arnold Schwarzenegger, Sylvester Stallone, Bruce Willis, Jerry Bruckheimer – these are the cream of the crop…and without fail kept their politics quiet until they reached icon status. This is where all righties hope to get some day. Few do.
Finally, there’s the closeted, or what my Hollywood veteran friend calls the “don’t ask, don’t tell” contingent. This includes newbies, below-the-line workers (i.e. gaffers, cameramen, set designers, etc.), as well as heralded actors and filmmakers. Mulholland Drive is riddle with rightwing road kill, so in the closet is where most conservatives are forced to live to remain gainfully employed. This set doesn’t advertise their politics – so their names will go unwritten here.
Right-wingers have been battered by Tinseltown for decades, and for most of that time with little to no real consequence. In fact, ridiculing conservatives has been a well-worn path to Hollywood stardom. For years, with every putdown, box office numbers rose, cable subscriptions multiplied, and home video rentals soared. There were few ways to fight back…but then some cavalry started trickling in. Limbaugh arrived. Matt Drudge and Hannity followed. AM radio blew up, and Andrew Breitbart showed the power of New Media. Social networking connected it all, and new tech innovations are now breaking down the once-insurmountable walls of Tinseltown’s near-monopoly. Most conservatives in Hollywood have been forced into the closet, but the new right throughout the country is, as they say, “woke”…and are a tad pissed. The beauty of it is, they’ve now got options, and have recently learned a valuable lesson: Slugging back is fun. A lesson they applied to game-ify an attack on one of Hollywood’s loudest Trump bashers.
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