Will Smith 'Perpetuated Stereotypes' About Black Americans

Following-up, "Academy Awards Condemns Will Smith and Begins Formal Review (VIDEO)."

*****

This was one of the first things I said to my wife as I was following this story on Twitter on Monday (like everyone else). 

After almost a decade of anti-police protests and Black Lives Matter riots, chaos, and destruction --- not to mention the epic surge in crime over the last year or two, especially black motherfucker "smash and grab" attacks -- people see African-Americans as violent thugs. 

And why wouldn't they? 

Will Smith is one of the top stars in Hollywood, of any race. He would have given a triumphant acceptance speech for his Best Actor win but instead got up there to credit the Lord for how wonderful he is, how deserving, beyond criticism of his actions, or whatever. He for sure did not apologize to Chris Rock until yesterday, and that was on Instagram. I don't know, but if you did someone bad, slapping him on live television with tens of millions around the world watching, hurting him and humiliating him, the decent godly thing to do is say you're sorry in person, or at least by a phone call.

That Will Smith could not do, and it pained me in the moment to think how he was simply confirming so many bigoted prejudices against blacks. 

You may not care, and I understand, but it's a tragic moment for black Americans, and the country as a whole. My dad was black and he spent most of his adult life trying not only to protect himself against racism but to defeat the stereotypes that coincided with violence and murder of people of his race. (My dad was highly educated, cultured, and professional. But he told me many stories. He was born in St. Louis in 1913 and lived through Jim Crow segregation, first in Missouri and then in Chicago and New York City, where he met my mom.)

When I was just 5-years-old I saw Lew Alcindor at the UCLA barber shop, where my dad used to take me for haircuts. This was of course before he converted to Islam in 1971, taking the name Kareen Abdul-Jabbar. Seen by many as the greatest basketball player of all time, his comments certainly carry weight. 

As his Substack, "Will Smith Did a Bad, Bad Thing"

Slapping Chris Rock was also a blow to men, women, the entertainment industry, and the Black community.

When Will Smith stormed onto the Oscar stage to strike Chris Rock for making a joke about his wife’s short hair, he did a lot more damage than just to Rock’s face. With a single petulant blow, he advocated violence, diminished women, insulted the entertainment industry, and perpetuated stereotypes about the Black community.

That’s a lot to unpack. Let’s start with the facts: Rock made a reference to Smith’s wife, Jada Pinkett Smith, as looking like Demi Moore in GI Jane, in which Moore had shaved her head. Jada Pinkett Smith suffers from alopecia, which causes hair loss. Ok, I can see where the Smiths might not have found that joke funny. But Hollywood awards shows are traditionally a venue where much worse things have been said about celebrities as a means of downplaying the fact that it’s basically a gathering of multimillionaires giving each other awards to boost business so they can make even more money.

The Smiths could have reacted by politely laughing along with the joke or by glowering angrily at Rock. Instead, Smith felt the need to get up in front of his industry peers and millions of people around the world, hit another man, then return to his seat to bellow: “Keep my wife's name out of your fucking mouth.” Twice.

Some have romanticized Smith’s actions as that of a loving husband defending his wife. Comedian Tiffany Haddish, who starred in the movie Girls Trip with Pinkett Smith, praised Smith’s actions: “[F]or me, it was the most beautiful thing I’ve ever seen because it made me believe that there are still men out there that love and care about their women, their wives.”

Actually, it was the opposite. Smith’s slap was also a slap to women. If Rock had physically attacked Pinkett Smith, Smith’s intervention would have been welcome. Or if he’d remained in his seat and yelled his post-slap threat, that would have been unnecessary, but understandable. But by hitting Rock, he announced that his wife was incapable of defending herself—against words. From everything I’d seen of Pinkett Smith over the years, she’s a very capable, tough, smart woman who can single-handedly take on a lame joke at the Academy Awards show.

This patronizing, paternal attitude infantilizes women and reduces them to helpless damsels needing a Big Strong Man to defend their honor least they swoon from the vapors. If he was really doing it for his wife, and not his own need to prove himself, he might have thought about the negative attention this brought on them, much harsher than the benign joke. That would have been truly defending and respecting her. This “women need men to defend them” is the same justification currently being proclaimed by conservatives passing laws to restrict abortion and the LGBTQ+ community.

Worse than the slap was Smith’s tearful, self-serving acceptance speech in which he rambled on about all the women in the movie King Richard that he’s protected. Those who protect don’t brag about it in front of 15 million people. They just do it and shut up. You don’t do it as a movie promotion claiming how you’re like the character you just won an award portraying. By using these women to virtue signal, he was in fact exploiting them to benefit himself. But, of course, the speech was about justifying his violence. Apparently, so many people need Smith’s protection that occasionally it gets too much and someone needs to be smacked.

What is the legacy of Smith’s violence? He’s brought back the Toxic Bro ideal of embracing Kobra Kai teachings of “might makes right” and “talk is for losers.” Let’s not forget that this macho John Wayne philosophy was expressed in two movies in which Wayne spanked grown women to teach them a lesson. Young boys—especially Black boys—watching their movie idol not just hit another man over a joke, but then justify it as him being a superhero-like protector, are now much more prone to follow in his childish footsteps. Perhaps the saddest confirmation of this is the tweet from Smith’s child Jaden: “And That’s How We Do It.” 

The Black community also takes a direct hit from Smith...

Keep reading.

 

Academy Awards Condemns Will Smith and Begins Formal Review (VIDEO)

This is the obligatory Will Smith Slaps Chris Rock at the Academy Awards Show post. 

I can't add much to all the commentary that's already been delivered, and I'm sure there's more to come. 

I wrote this last night after Will Smith accepted his Best Actor award for "King Richard," in which he invoked God in his apology, but *did not* apologize to Chris Rock at the time: "'I’m being called on in my life to love people and to protect people and to be a river to my people' — Will Smith, accepting his Academy Award after striking fellow brother Chris Rock across the face. God called on him to do that, you know."

Smith's assault on Rock has dominated the 24 hour news-cycles, and my continue to dominate for a few more days. Both astonishing and reprehensible behavior. 

At the New York Times, "Will Smith Apologizes to Chris Rock After Academy Condemns His Slap:"

“I was out of line and I was wrong,” said Smith, who hit Rock at the Oscars after the comedian made a joke about his wife. The film organization opened an inquiry into the incident.

LOS ANGELES — Will Smith apologized to the comedian Chris Rock on Monday evening for slapping him during Sunday night’s Oscars telecast after the Academy of Motion Picture Arts and Sciences, which administers the awards, denounced his actions and opened an inquiry into the incident.

Mr. Smith, who had pointedly not apologized to Mr. Rock on Sunday night when he accepted the award for best actor, wrote on Instagram Monday evening that “I would like to publicly apologize to you, Chris.”

“I was out of line and I was wrong,” he said in the statement. “I am embarrassed and my actions were not indicative of the man I want to be.”

His apology came as the academy, a major Hollywood union and others criticized his actions, which stunned viewers around the world and overshadowed the Oscars.

“The academy condemns the actions of Mr. Smith at last night’s show,” the film organization said in a statement. “We have officially started a formal review around the incident and will explore further action and consequences in accordance with our bylaws, standards of conduct and California law.”

The academy’s statement came after a meeting Monday. A five-page document on standards of conduct that accompanied it spells out behavior the organization deems unacceptable. It prohibits “physical contact that is uninvited and, in the situation, inappropriate and unwelcome, or coercive sexual attention.” Also not allowed is “intimidation, stalking, abusive or threatening behavior, or bullying.”

Disciplinary action, according to the bylaws, could include “suspension of membership or expulsion from membership.”

The Academy was not known to have expelled a member before 2017, when Harvey Weinstein was removed amid allegations of sexual harassment and rape. Then, in 2018, after adopting a code of conduct for members, the organization expelled Bill Cosby, who had been convicted of sexual assault, and the filmmaker Roman Polanski, who had fled the country years earlier while awaiting sentencing for statutory rape.

The Screen Actors Guild-American Federation of Television and Radio Artists, the union representing thousands of people who work in film, television and radio, called the incident “unacceptable” but said that it “does not comment on any pending member disciplinary process.” “Violence or physical abuse in the workplace is never appropriate and the union condemns any such conduct,” the union said in a statement Monday. “The incident involving Will Smith and Chris Rock at last night’s Academy Awards was unacceptable.”

The incident unfolded Sunday night after Mr. Rock made a joke about the buzzed hair of Mr. Smith’s wife, Jada Pinkett Smith, who has alopecia, a condition that leads to hair loss. Mr. Smith responded by walking onto the stage of the Dolby Theater and slapping Mr. Rock, leaving stunned viewers wondering at first if the blow might have been scripted until Mr. Smith returned to his seat and warned him to stop talking about his wife, using expletives.

Behind the scenes at the Oscars, there were serious discussions about removing Mr. Smith from the theater, according to two industry officials with knowledge of the situation who were granted anonymity to describe internal deliberations. But time was short, because the best actor award, which Mr. Smith was heavily favored to win, was fast approaching, one noted — and stakeholders had varying opinions on how to proceed. There was also concern about further disrupting the live broadcast, the other said.

As the show went on, the actor Denzel Washington spoke with Mr. Smith during a commercial break. Not long after that Mr. Smith won best actor. (Mr. Smith said in his speech that Mr. Washington had told him: “At your highest moment, be careful. That’s when the devil comes for you.”) In his onstage remarks, Mr. Smith apologized to the academy and to his fellow nominees — but not to Mr. Rock — and defiantly sought to draw parallels to the character he played in “King Richard,” the father of Venus and Serena Williams.

“Richard Williams was a fierce defender of his family,” Mr. Smith said. 

He received a standing ovation.

American society is completely (and perhaps irrevocably) degenerate.  

See Allahpundit for lots more, "No, Will Smith isn't going to lose his Oscar."

Kirstie Alley

Peace.

On Twitter.

Jamie Lee Curtis

A spectacular woman. 

She was the hottest woman in the movies in the 1980s and 1990s. 

On Twitter.

Whoopi Goldberg 'Apologizes' for Holocaust Comments on 'The View,' Then Doubles-Down on 'The Tonight Show with Stephen Colbert' (VIDEO)

This is just the most appalling, disgusting, insidious thing I've heard in a long time, and that's saying a lot. People are outraged and rightly so, and even some ABC News insiders are saying Whoopi's got to go. 

The main story's here, "Whoopi Goldberg Apologizes for Saying Holocaust Was 'Not About Race': Ms. Goldberg’s comments, on Monday’s episode of "The View," came amid growing ignorance about the Holocaust and rising antisemitism."

Yeah, obviously a faux apology. Commenting on Whoopi's "The Tonight Show" appearance, Batya Ungar-Sargon's not having it: "How can you say it's about race if you are fighting each other?" is how Whoopi Goldberg describes a GENOCIDE. The fact that most Jews had light skin to her—and many others on the woke Left—means they weren't victims but just the other side of a skirmish. Just unspeakably gross." 

Watch:

Groundbreaking Career of Sidney Poitier (VIDEO)

When I was in elementary school, my dad had me and my sisters sit down and watch 'Guess Who's Coming to Dinner." Poitier was BIG for black America. Pathbreaking figure of the 20th century.

At Deadline, "Sidney Poitier: A Groundbreaking Career In Pictures."

And at the New York Times, "Sidney Poitier, Who Paved the Way for Black Actors in Film, Dies at 94":

The first Black performer to win the Academy Award for best actor, for “Lilies of the Field,” he once said he felt “as if I were representing 15, 18 million people with every move I made.”

Sidney Poitier, whose portrayal of resolute heroes in films like “To Sir With Love,” “In the Heat of the Night” and “Guess Who’s Coming to Dinner” established him as Hollywood’s first Black matinee idol and helped open the door for Black actors in the film industry, has died at 94.

His death was confirmed by Eugene Torchon-Newry, acting director general of the Ministry of Foreign Affairs in the Bahamas, where Mr. Poitier grew up. No other details were immediately provided.

Mr. Poitier, whose Academy Award for the 1963 film “Lilies of the Field” made him the first Black performer to win in the best-actor category, rose to prominence when the civil rights movement was beginning to make headway in the United States. His roles tended to reflect the peaceful integrationist goals of the struggle.

Although often simmering with repressed anger, his characters responded to injustice with quiet determination. They met hatred with reason and forgiveness, sending a reassuring message to white audiences and exposing Mr. Poitier to attack as an Uncle Tom when the civil rights movement took a more militant turn in the late 1960s.

“It’s a choice, a clear choice,” Mr. Poitier said of his film parts in a 1967 interview. “If the fabric of the society were different, I would scream to high heaven to play villains and to deal with different images of Negro life that would be more dimensional. But I’ll be damned if I do that at this stage of the game.”

At the time, Mr. Poitier was one of the highest-paid actors in Hollywood and a top box-office draw, ranked fifth among male actors in Box Office magazine’s poll of theater owners and critics; he was behind only Richard Burton, Paul Newman, Lee Marvin and John Wayne. Yet racial squeamishness would not allow Hollywood to cast him as a romantic lead, despite his good looks.

“To think of the American Negro male in romantic social-sexual circumstances is difficult, you know,” he told an interviewer. “And the reasons why are legion and too many to go into.”

Mr. Poitier often found himself in limiting, saintly roles that nevertheless represented an important advance on the demeaning parts offered by Hollywood in the past. In “No Way Out” (1950), his first substantial film role, he played a doctor persecuted by a racist patient, and in “Cry, the Beloved Country” (1952), based on the Alan Paton novel about racism in South Africa, he appeared as a young priest. His character in “Blackboard Jungle” (1955), a troubled student at a tough New York City public school, sees the light and eventually sides with Glenn Ford, the teacher who tries to reach him.

In “The Defiant Ones” (1958), a racial fable that established him as a star and earned him an Academy Award nomination for best actor, he was a prisoner on the run, handcuffed to a fellow convict (and virulent racist) played by Tony Curtis. The best-actor award came in 1964 for his performance in the low-budget “Lilies of the Field,” as an itinerant handyman helping a group of German nuns build a church in the Southwestern desert.

In 1967 Mr. Poitier appeared in three of Hollywood’s top-grossing films, elevating him to the peak of his popularity. “In the Heat of Night” placed him opposite Rod Steiger, as an indolent, bigoted sheriff, with whom Virgil Tibbs, the Philadelphia detective played by Mr. Poitier, must work on a murder investigation in Mississippi. (In an indelible line, the detective insists on the sheriff’s respect when he declares, “They call me Mr. Tibbs!”) In “To Sir, With Love” he was a concerned teacher in a tough London high school, and in “Guess Who’s Coming to Dinner,” a taboo-breaking film about an interracial couple, he played a doctor whose race tests the liberal principles of his prospective in-laws, played by Spencer Tracy and Katharine Hepburn.

Throughout his career, a heavy weight of racial significance bore down on Mr. Poitier and the characters he played. “I felt very much as if I were representing 15, 18 million people with every move I made,” he once wrote...

Still more.

 

Alec Baldwin: I Feel No Guilt For Shooting My Cinematographer, Because It Was Someone Else Who Really Did It

At AoSHQ, "Like OJ Simpson before him, Alec Baldwin vows to find The Real Killer."

New Film is Based on Amanda Knox's Wrongful Murder Conviction

I've seen the previews for this, but I mute commercials and I don't care much for Matt Damon.

I can see why Ms. Amanda's pissed. 

At the New York Post, "Amanda Knox blasts Matt Damon flick ‘Stillwater,’ claims it’s cashing in on her wrongful conviction."

And Ms. Amanda on Twitter, "Does my name belong to me? My face? What about my life? My story? Why does my name refer to events I had no hand in? I return to these questions because others continue to profit off my name, face, & story without my consent. Most recently, the film #STILLWATER."

Well, That Didn't Take Long: Sharon Osbourne Out at 'The Talk' as Unhinged Leftists Claim Another Scalp Over Imaginary Racism (VIDEO)

So, my wife was on target, naturally. 

Sharon Osbourne is definitely out at "The Talk," and just one quick search for "Sharon Osbourne" on Twitter gives you a glimpse into the radical --- and so "pure" --- left's utter ideological fury over the audacity that this woman might actually stand up for something, that thing being, er, the truth.

Here's my earlier entry, "'The Talk' Extends Hiatus After Sharon Osbourne's 'Controversial' Defense of Friend Piers Morgan (VIDEO)."

And now at OK Magazine, with, what looks like, a bit of actual news on some likely nasty litigation to be forthcoming: "CBS Will Reportedly Have to Pay Sharon Osbourne a 'Sizeable Settlement to Keep Her Quiet' Amid 'The Talk' Investigation." Also, "'It's All Out of Control': Sharon Osbourne 'Not Expected to Return' to 'The Talk' After Shocking On-Air Meltdown, Says Source."

It wasn't a "shocking on-air meltdown." 

Indeed, Ms. Osbourne was freakin' ambushed, and she's right to claim she was set up, for whatever reason, the most likely being that this black race-mongering beatdown queen, Sheryl Underwood, came to the taping all ready to go for the big "you be racist!" backstab --- and the rest is history, or it will be, once we get more on the true juicy details of exactly how this degenerate bull came down.

The kicker is this Don Lemon segment at CNN from the other night (below), which I did not see in real time, in which he "discusses" how "calm" was Ms. Underwood in responding to the "privileged Ms. Osbourne, who shoulda just sucked it up. And further, neither has the "brother" Mr. Lemon, nor the "I ain't never seen no white person who wasn't no racist cracka" Ms. Hill, accepted Ms. Osbourne's apology, which I had not seen until today; and they claimed Osbourne's mea culpa wasn't "really" addressing" the "underlying" issue, which is that if muthaf*ckin' black folks call you out for your "enabling" of alleged "racist" treatment of "people of color" (and a "coloured" royal, no less), then you best be shuttin' the f*ck up, bitch.

And don't forget, Ms Hill was first suspended at then basically fired from  --- after a year of turmoil, and with Ms. Hill brokering some kind of "settlement," er, payoff --- ESPN, after she basically attacked Dallas Cowboys owner Jerry Jones (on Twitter, of course) as the second coming of Confederate President Jefferson Davis. 

And this lady's been bad news for a long time. See the Washington Examiner, for example, "Lessons from Trader Jose and Jemele Hill: Calling everything racist is a really bad way to fight racism."

I'm am done.

I can barely get through Wolf Blitzer's "The Situation Room" anymore, and if I continue to watch the network, it's going to be just to monitor how low Zucker's FUBAR programming will go down the hole of despicable and hysterically deranged leftist racial paranoia (and obvious pro-Biden/Dem "white supremacist" propaganda).

Oh brother, Sharon Osbourne should just turn the tables and retort, "Bitch Better Have My Money." (*Eyes rolling into the back of my head.*)

'The Talk' Extends Hiatus After Sharon Osbourne's 'Controversial' Defense of Friend Piers Morgan (VIDEO)

"Controversial." Wait, what?

I used to watch "The Talk" years ago with my wife, who was an absolute fan of Julie Chen. But when she left the show when her husband, Leslie Moonves, got caught up in the "MeToo" witch hunt (which might not have been the biggest "witch-hunt" in his case, since the man HAD been engaged in bad behavior, the details of which I can't exactly recall, because there were so many top leftist execs just like him who did the exact same things, and worse), my wife was still pissed that Ms. Chen quit --- and she quit, because, actually, all the show was really about is a bunch of privileged women sitting around gossiping about how horrible their privileged lives were, and of course, inevitably, Ms. Chen would have actually been attacked mercilessly for her husband doing something (indeed) horrible and unforgivably un-woke.

And I never personally could stand founding host Sara Gilbert, whose only real claim to fame is having starred as Darlene Conner on "Roseanne" for so many years. And the real Rosanne Barr made whatever stupid remarks she made after the "reboot" appeared, and the über-woke Gilbert had a hissy-fit, and ultimately quit "The Talk" after ABC canceled the second season of the re-branded "Roseanne" show, "The Connors."

So, here we are, and the one remaining smart and decent personality on the show, Ms. Osbourne, wife of the notorious heavy (and early "death") metal icon, Ozzy, is now about to be canceled, because she defended Piers Morgan? 

This country if f*ked. And it's leftists who've f*cked it all up. 

At the Hollywood Reporter, "'The Talk' Extends Hiatus as Claims Mount Against Sharon Osbourne":

After a controversial defense of friend Piers Morgan during a conversation about racism, Osbourne is facing accusations of further misdeeds on set.

The Talk will remain silent for another week.

After going dark on Monday and Tuesday, CBS' panel series is extending its brief hiatus from live shows until Tuesday, Mar. 23, as the network continues a review stemming from last Wednesday's heated debate between Sharon Osbourne and Sheryl Underwood. Initially planning to return to live episodes on Wednesday, Mar. 17, the show will stay dark as Osbourne's defense of Piers Morgan and comments on racism — particularly her confrontation with Underwood, her Black colleague — go under the microscope internally.

A CBS spokesperson sent The Hollywood Reporter the following comment about the extended hiatus on Tuesday: “CBS is committed to a diverse, inclusive and respectful workplace across all of our productions. We’re also very mindful of the important concerns expressed and discussions taking place regarding events on The Talk. This includes a process where all voices are heard, claims are investigated and appropriate action is taken where necessary. The show will extend its production hiatus until next Tuesday as we continue to review these issues.”

Fallout for Osbourne (and the show) was swift following the longtime panelist's teary defense of friend and fellow Brit, Morgan, who stormed off the set of (and ultimately quit) ITV's Good Morning Britain — which he'd co-hosted since 2015 — after his vitriolic criticism of Meghan Markle was read by most as racist. At one point in her defense of Morgan, Osbourne went on the offense and demanded that Underwood tell her what Morgan had done wrong. "Educate me, tell me when you have heard him say racist things," Osbourne said. "I very much feel like I'm about to be put in the electric chair because I have a friend, who many people think is a racist, so that makes me a racist?"

Since then scrutiny has only increased...

Well, naturally, the scrutiny was never going to "decrease," because CBS, craven as can be, is just letting all the controversy hang in the wind, without doing a thing to defend Ms. Osbourne, who will soon enough, probably early next week, be fired.

Now, this is my wife's theory, but she's been predicting the actual cravenness of the network's execs since the story first broke. My wife says if the media outrage dies down over the remainder of this week, the execs will be "in the clear" to keep Ms. Osbourne on the show. But if by next Monday, the clamor is continuing, the wife of the "Iron Man" vocalist will be melted down and dribbled along with the rest of the (cast) iron dregs of the nearest ironwork's foundry. 

So disgusting. I say it every time, but these people (leftists) are despicable. 

(The "controversial" portion of the episode, with the "controversial" comments by Ms. Osbourne, can seen at the beginning of the video above.)

Time's Up Golden Globes?

This is exactly why I didn't watch the stupid Golden Globes last night: all the overwrought and stupid hand-wringing about "not enough diversity."

And here I am, an actual diverse guy, with an actually diverse family, to boot. 

Interesting, though, I did watch "Nomadland" last night, starring the phenomenal Frances McDormand. And you know what? It's a freakin' conservative movie! Yep. The film is almost all platitudes to rugged individualism, with all kinds of settings in rustic, "small-town" America, and "Fern" (McDormand) gives a raw and compelling performance that is indeed deep, genuine, and award-worthy. And the kicker is that the director, Chloé Zhao, is freakin' Chinese! I mean, you can't make this up. Zhao is a woman and an ethnic minority, but oh! That's not enough --- it's never enough for the gouging nobodies who put on these idiotic awards shows. 

And these dolts with their stupid hashtags, like "#TimesUpGlobes," are whining about not enough blacks, waah! Well, if they wanted more blacks, why the f*ck did they have ultra-white babes Tiny Fey and Amy Poehler hosting? You'd think someone, somebody, anybody, might have asked, ahead of time, "Aren't there any beautiful black women on T.V. we could have host the program?" I'm dyin' over here. *Shrugs.* 

Again, I think it's just best to watch shows that might interest you, rather than pay attention to the stupid media people who rag endlessly at these showbiz [slash[ media orgs, like the Hollywood Foreign Press Association. These are stupid, un-self-aware elites, who don't deserve the attention they so desperately crave. 

And no surprise, the self-flagellating story is at the Los Angeles Times (FWIW, really!), "‘Nomadland’ and ‘Borat Subsequent Moviefilm’ win at Golden Globes, as HFPA tries to move past controversy."

Why Are Reporters Covering for Hilaria Baldwin?

She's a leftist married to a famous leftist actor?

From Stephen Green, at Instapundit, "CHRISTIAN TOTO: Why Are Reporters Covering for Hilaria Baldwin’s Epic Con? “The Identity Politics mob is suddenly standing down. Here’s the real reason why.”

Also, from Jon Gabriel, at Richochet, "Everything You Need to Know About the Shocking Hilaria Baldwin Scandal."

 

Chris Hemsworth’s One Badass Mofo!

Training for the "Thor 4." 

Damn!

Jessica Chastain

We watched ""IT Chapter Two" last night. I love Jessica Chastain, and there's a to-die-for "wet t-shirt" scene at start of the film, man.

Photos at the Fappening.

And see, "44 Pictures of Jessica Chastain Will Drive You Frantically Enamored With This Sexy Vixen."

Happy Birthday, @jes_chastain! From #ZeroDarkThirty to #Interstellar, which of her 55 acting credits is your favorite? https://t.co/q6YHyaandP pic.twitter.com/2KJpJYZvNs

— IMDb (@IMDb) March 24, 2020

I guess you can say I know how to satisfy. pic.twitter.com/7DhTEtNVU1

— Jessica Chastain (@jes_chastain) May 13, 2020

FRIDAY. pic.twitter.com/B1xOjsKQp4

— Jessica Chastain (@jes_chastain) May 8, 2020

My ideal day: Margs, Ella Fitzgerald, love poetry, and being in bed before sunset. Happy Birthday Ella <3 pic.twitter.com/r0PjJLlHCD

— Jessica Chastain (@jes_chastain) April 25, 2020

Dance party with my sunglasses. Yes it’s come to that. pic.twitter.com/3e4JtL0gUK

— Jessica Chastain (@jes_chastain) April 19, 2020

The Naked Dress

That's Rose McGowan at the 1998 MTV Video Music Awards. Man, that was crazy, and way ahead of the naked zeitgeist of today, lol.

More often than not -- and especially in case of the media -- the naked dress reveals more about the watcher than the wearer. https://t.co/fNvNEX1fNE via @i_D

— rose mcgowan (@rosemcgowan) April 29, 2020

Two decades before the #MeToo movement, Rose McGowan wore a beaded dress and black G-string on the VMA red carpet as a personal political statement. “It was my first public appearance after being raped. And I thought, it was kind of like Russell Crowe and Gladiator when it comes out in the ring and he’s like, ‘Are you not entertained?’” she told Jameela Jamil during an interview for the actress’ I Weigh series. In her memoir, Brave, McGowan stated that the dress was “a reclamation of my own body after my assault”...

Click through for the full-size photo. 

Cate Blanchett's Books

Not just Ms. Kate's.

This is cool. When I'm watching the news, especially CNN (since Fox is frequently on the conspiracy side these days, especially Ingraham and Hannity), I love looking to see what's on people's book shelves.

I've counted a least three people who've had Ron Chernow's Hamilton on their shelves. It's easily recognizable so I always look to see if it's up there. Tells you a lot about a person, since Hamilton the musical is de rigueur for progressive coastal elites (and their wannabe worshipers in the leftist media).

In any case, at the New York Times:

If bookshelves are windows to the soul, what can we learn about Cate Blanchett, Prince Charles, Amy Poehler and Jane Goodall from perusing theirs? https://t.co/PvzyAXrgjT

— New York Times Arts (@nytimesarts) April 30, 2020

Bibliophiles do not approach bookshelves lightly. A stranger’s collection is to us a window to their soul. We peruse with judgment, sometimes admiration and occasionally repulsion (Ayn Rand?!). With celebrities now frequently speaking on television in front of their home libraries, a voyeuristic pleasure presents itself: Are they actually really like us?

Blanchett owns all 20 volumes of the Oxford English Dictionary, man!

Ricky Gervais at the Golden Globes

She's a great writer, Bridget Phetasy, at Quillette, "Ricky Gervais, Man of the People":

I wrote about the @rickygervais monologue, #HollywoodHypocrites and warm nuts. Enjoy.https://t.co/EpSlkKQUC5

— Bridget Phetasy (@BridgetPhetasy) January 6, 2020

In a room filled with self-absorbed narcissists, one brave, slightly less self-absorbed narcissist had the balls to speak truth to power—and his name is Ricky Gervais.

If courage had a face, it would be a slightly overweight, pasty British multi-millionaire drinking a pint. Taking the stage to host his fifth and final (allegedly) Golden Globe Awards, Ricky spoke for us, the oppressed, six-figure earning, working middle-class, little guy.

I may not have ever flown on a private jet to a private island with a temple, but I got an upgrade to First Class once, and those warm nuts have a way of seducing you into believing anyone cares about your shitty takes. In fact it was on that flight I was inspired to become an opinion writer. I appreciate your hypocrisy, Hollywood, it makes me feel better about my own...

Read it all.

And the video from the broadcast is at the link.

Stunning Brie Larson

At Celeb Jihad, "BRIE LARSON’S TITS GUEST HOST “JIMMY KIMMEL LIVE!”."

Jimmy looks STUNNING tonight! 😻 @BrieLarson #GuestHost #Kimmel pic.twitter.com/uTtQSApdwP

— Jimmy Kimmel Live (@JimmyKimmelLive) December 19, 2019

The Golden Age of Television?

I didn't watch the Emmys --- I quit watching awards shows eons ago, and I frankly, it was mostly the Academy Awards for me in any case.

And apparently not that many tuned in.

That said, I agree with this Lorraine Ali piece below, at LAT. I just love the new era of TV. Streaming is the best. I'm on Netflix, but with all the new programming out across so many channels, I fear I'm missing out. Now that's something to be excited about, amid all the other stupid doomsday predictions everywhere of late.

#Emmys viewership falls under 7M for 1st time to all-time low – @DeadlineDominic reports https://t.co/VFeNXj19Rd pic.twitter.com/gsyRqclH6u

— Deadline Hollywood (@DEADLINE) September 23, 2019

I miss the days when just about EVERYONE was watching the Emmys LIVE and chatting about it ...seemed so fun and happy and exciting...kinda crickets on here☹️

— Kirstie Alley (@kirstiealley) September 23, 2019

See, "‘Fleabag.’ ‘Succession.’ ‘Pose.’ How the Emmys finally harnessed the power of ‘peak TV’":

The #Emmys telecast was proof of how far television has come creatively, socially and as an industry.

And if we’re to read anything else into the show, it’s that there’s plenty more change to come, writes @LorraineAli https://t.co/IeUxtF84Pw

— LAT Entertainment (@latimesent) September 23, 2019

Peak TV. Prestige programming. The platinum age of television.

Whatever we chose to call the tsunami of innovative series that have made watching too much television a respectable pastime, the Television Academy finally managed to wrap its arms around the multiplatform beast on Sunday during the 71st Emmy Awards ceremony in Los Angeles.

From “Game of Thrones” to “Fleabag,” “Chernobyl” to “Ozark,” “Killing Eve” to “Pose,” the winners list produced during the three-hour Fox telecast was a testament to the diversity — in budget, subject matter, character and platform — that’s changed the very definition of television.

Case in point: Phoebe Waller-Bridge’s comedy “Fleabag,” about a woman’s dysfunctional relationship with her family, men and, yes, relationships. “This is getting ridiculous,” she said, somewhat stunned as she accepted the show’s fourth and biggest award of the night for comedy series.

In a huge upset, the cutting-edge artist also won the lead comedy actress Emmy over former favorite Julia Louis-Dreyfus of HBO’s powerhouse “Veep” and last year’s victor, the beloved Rachel Brosnahan of Amazon’s “The Marvelous Mrs. Maisel.” Waller-Bridge also took home the prize for writing for a comedy series over strong competitors such as HBO’s “Barry.”

As television hurtles forward into what looks like another new phase of its endless new phases — get ready for streaming platforms Disney+, Apple TV+ and more to upend the game — it’s important to stop and savor the moment we’re in now. Sunday’s Emmys were the culmination of a creative renaissance that’s still so fast-moving we haven’t had the time to give it a name that sticks. But it’s made it so “Fleabag” and “Game of Thrones” occupy the same space, at least when it comes to industry respect and (respective) social media fervor.

Even Hollywood veteran Michael Douglas, who lost the comedy actor honor for his work in Netflix’s “The Kominsky Method” to “Barry’s” Bill Hader, appeared impressed by the sheer breadth of the material represented onstage Sunday.

When introducing the drama series award he described the nominees — “Better Call Saul,” “Bodyguard,” “Game of Thrones,” “Killing Eve,” “Ozark,” “Pose,” “Succession” and “This Is Us” — as “each being so different from the television we grew up on.”

It was not surprising that the night’s top honor went to “Game of Thrones.” What was unexpected? The last big water-cooler series didn’t sweep every drama category possible for its final, earth-scorching season.

Still, the ceremony was less about dancing on the graves of blockbusters such as “Game of Thrones” or “Veep,” which was also expected to win big in the comedy categories but came away empty-handed. It was more about celebrating the wide-open landscape that allowed for “Killing Eve” and “Pose” to even happen, and then for their leads — Jodie Comer and Billy Porter — to win the academy’s top drama honors.

The night belonged to high-budget productions as well as fringe efforts, familiar faces doing new things — including Jason Bateman, who won for his direction in “Ozark”— and new arrivals that have bent comedy and drama norms into pop art.

The ceremony itself was as loose and far-flung as the industry it was honoring. It was the first time the show went host-less since way back in 2003 when the big four networks still won all the top awards, and it would be another year before HBO’s “The Sopranos” took home cable’s first drama series Emmy.

The show was held together by a pastiche of personalities and TV ephemera that included Homer Simpson, masked singers and a tuxedo-clad Bryan Cranston introducing a year in television that looked markedly different than it did when “Breaking Bad” arrived over a decade ago.

“Television has never been bigger,” he said. “Television has never mattered more. And television has never been this damn good.”

Emotions ran high when Jharrel Jerome accepted the award for lead actor in a limited series for his performance in Ava DuVernay’s “When They See Us.” The series followed the saga of black teens dubbed the Central Park Five by the media, who were wrongly accused and imprisoned for the brutal rape of a Central Park jogger.

Jerome, who played one of the accused, Korey Wise, in the series, dedicated the award to “the men that we know as the Exonerated Five.”

And all five men — Wise, Kevin Richardson, Antron McCray, Raymond Santana Jr. and Yusef Salaam — were in the audience, on their feet, hands in the air as if they’d been freed once again.

“Game of Thrones” star Peter Dinklage might have put it best when he accepted the Emmy for supporting actor in a drama. “Thank you. I have no idea what I’m about to say, but here we go. I count myself so fortunate to be a member of a community that is all about tolerance and diversity, because in no other place could I be standing on a stage like this,” he said, choking up...

Emilia Clarke

At the HBO Emmys after-party.

.@AmyKinLA has the touch. https://t.co/Qk6YaJQLKk

— Robert Lloyd (@LATimesTVLloyd) September 23, 2019