Hollywood

Opinion: De Niro’s crude attack on Trump proves liberals are beside themselves that he keeps winning

Courtesy of actor Robert De Niro, we finally have an admission that the Trump-hater agenda has moved from stupid “resisting” to mindless rage. Gone is any pretense that President Trump’s opponents are genuinely concerned about policy or about the condition of the country. On Sunday night at the Tony Awards for Broadway productions, De Niro was brought on stage to introduce singer-songwriter Bruce Springsteen. But the moment De Niro got to the microphone he attacked President Trump, using a vulgar invective favored by juvenile bullies. “I’m gonna say one thing: f— Trump,” De Niro said. At that point the 75-year-old star of the upcoming “War with Grandpa” pumped his fists into the air. “It’s no longer down with Trump, it’s f— Trump!” Said on the eve of the Singapore summit, who knew that President Trump working for world peace would so infuriate De Niro? De Niro’s outburst illustrates why the blind and irrational hatred of the president that has infected some on the left is called “Trump Derangement Syndrome.” The crowd cheered De Niro’s obscene comment, with what appeared to be half of the audience giving the insult a standing ovation. In some television close-ups of sections of the crowd, you could see that not everyone was joining in on the fun. One shot, for example, showed a woman with her hand over her mouth looking horrified. Others sat gobsmacked, not applauding and certainly not standing. The clip itself has gone viral on social media. It received massive news coverage. But there was little discussion of why some people in the theatre were appalled and did not applaud. It’s because they want their industry to survive. They want to keep working and keep making money. Consider why awards shows are televised. They’re marketing extravaganzas. The Tonys are broadcast not because everyone in the country is on the edge of their seats wondering who will win Best Play. It’s because the American Theatre Wing and The Broadway League are marketing the “excellence of Broadway” to the people they hope will leave their Middle American homes, travel to New York and see a Broadway play or musical. When De Niro declared the effort to “dump” Trump was over, and now the mission was simply to f— him, it was an admission that the only thing that matters now is to harm the president and his agenda. It was also a direct insult to everyone who voted for President Trump – the very people those invested in Broadway want to buy tickets. Salena Zito, a national political reporter and co-author, with Brad Todd, of “The Great Revolt: Inside the Populist Coalition Reshaping American Politics,” tweeted this after the De Niro debacle: “Dear Broadway, There are lots of families who voted for Trump who save to take their kids or wives to see stage productions either traveling to NYC or when the productions come to their hometown – they are your bread & butter. I don’t think you understand that you’re losing them.” The moment Donald Trump became the president-elect, Democrats and Never Trumpers had a window open briefly when they could try to define the president. If you were intent on convincing people something about someone that was untrue, you would have to do it before people found out the truth. That initial opportunistic braying of the left centered on claims that President Trump is an idiot, would destroy the economy, and would start World War III. Then we found out not that none of those things are true. Now with everything we know, when someone goes off unhinged like De Niro, the rage is inexplicable and evokes suspicion. An actor tells us it’s time to f— Trump because the economy is blossoming? Because unemployment is at historic lows? Because wages are increasing? Because ISIS is smashed? Because the leader of North Korea signed an agreement Tuesday after meeting with President Trump pledging to work toward the “complete denuclearization of the Korean Peninsula?” One can imagine the conversation in family rooms, other than in Malibu and Manhattan, as the Broadway crowd stood to applaud the tirade. Could some people actually want bad things to happen to Americans simply because they hate President Trump? We have the answer, courtesy of another creation of the entertainment industry, Bill Maher, host of HBO’s “Real Time.” Last Friday, Maher told his audience he was hoping for another recession, because “one way you get rid of Trump is a crashing economy. So please, bring on the recession. Sorry if that hurts people but it’s either root for a recession or you lose your democracy. … I feel like the bottom has to fall out at some point.” Maher is “sorry if that hurts people.” Coming from a man who some reports indicate makes at least $10 million a year, we know a recession certainly wouldn’t hurt him. A simple exchange on Twitter highlights how easily facts expose Trump hatred for the rank absurdity it is. A person tweeting as FunTrendsUSA was appalled that actress and author Alana Stewart found De Niro’s epithet to be disrespectful of the president. FunTrendsUSA snapped back that President Trump “deserves to be cursed, disrespected & impeached. Look at what he’s doing to this country!” Stewart responded by saying: “Everyone is entitled to their opinion, but it’s offensive to many of us to hear that kind of language on live tv. And I’m not sure what he’s doing so terrible since unemployment is lowest in 50 years & black and Hispanic unemployment lowest in history.” Logic, reason, and facts will best mindless rage every time. They also guarantee another Trump victory in 2020.

That spot-on assessment of out-of-touch, extreme liberal HollyWEIRD was written by radio talk show host, and NY Times best-selling author, Tammy Bruce.  If you liked that, check out another of her column’s immediately below.   Excellent!!    🙂

A Marvel Heist and the Booming Business (and Seedy Underworld) of Movie Collectibles

With the market for memorabilia breaking records, collectors and auction houses must contend with thieves, fakers and skeptical police who wonder, “Who in their right mind would pay that much for that?” The hero’s shield from Captain America. Robert Downey Jr.’s mask from Iron Man. A set of X-23 claws from Logan. They’re among the more than $1 million in memorabilia stolen in late February from a Southern California public storage unit in suburban Rancho Cucamonga, allegedly by a pair of thieves now being prosecuted by the San Bernardino County District Attorney’s Office. The cache, much of which has yet to be recovered, comprised part of Marvel collector Max Anderson’s Stan Lee Museum, a pop-up exhibition he’s operated for seven years on the Comic-Con circuit. Around the time of the Rancho Cucamonga heist, an Iron Man suit reportedly valued at $325,000 was plundered from another storage unit, this one 60 miles away in the San Fernando Valley neighborhood of Pacoima. LAPD detectives are still attempting to solve that case. It’s unclear whether there’s a link. The crimes — along with recent six-figure inside-job robberies targeting the rare collections of Steve Sansweet, the former longtime head of Lucasfilm fan relations, and Joe Quesada, Marvel Entertainment’s ex-chief creative officer — highlight what insiders and experts already know. The untamed, boomtown realm of entertainment artifacts, especially the geekiest ones derived from studio productions and actors’ personal estates, has become a potent business (with some auction house experts estimating it has ballooned from $20 million to $40 million in annual sales a decade ago to $200 million to $400 million today). “I have hedge funds looking to diversify into this market,” says Darren Julien, CEO of Julien’s Auctions. The interest is arriving as Hollywood collectibles are on the verge of a major wave of canonization in the future permanent displays of L.A.’s forthcoming Academy Museum of Motion Pictures and Lucas Museum of Narrative Art. This follows decades of condescension or outright dismissal. (The previous high-visibility marker for memorabilia reverence in the public sphere was the 1990s, when patrons of Planet Hollywood franchises convened under typically zeitgeist-driven chazerai on the order of Tom Arnold’s getup from The Stupids.) James Comisar, a collectibles consultant recognized for his authentication expertise, describes how, in an increasingly “seismic” market, collectors “with unlimited spending potential are trying to club each other to death” for a limited number of the most “iconic pieces — the pieces that you recognize from across the room, the ones that don’t need a descriptive plaque, the instantly recognizable ones where you creep up to the display case, your voice drops, and you go, ‘Holy shit!’ ” As a result, the hunt is always on for the next cache, and auction houses are constantly working relationships in the hope of securing the deaccession of a production’s original materials or a star’s personal property, the latter governed by the so-called Four D’s of estate sales: death, divorce, debt and downsizing. “That’s what I do all day,” says Joe Maddalena, owner of Profiles in History, who has handled a series of sales of Debbie Reynolds’ belongings before and after her 2016 death, grossing more than $25 million. Sansweet jokes, “I’ve been approached by several auction houses: ‘Any time you’re ready to sell!’ ” Reynolds was the industry’s own most famous collector of Hollywood memorabilia, accumulating items ranging from Dorothy’s Wizard of Oz ruby slippers and Marilyn Monroe’s white “subway grate” dress from The Seven Year Itch to a Charlie Chaplin bowler hat. (Now that title arguably belongs to Guillermo del Toro, who maintains Bleak House, a private suburban L.A. residence in the western San Fernando Valley, for his substantial holdings of horror props and other objects.) Reynolds began amassing her trove at what’s agreed to be the dawn of memorabilia collecting: When MGM, under financial pressure, unloaded its physical assets in a first-of-its-kind 1970 auction, resulting in an unprecedented flood of tens of thousands of relics. “I saw people coming in from New Orleans, taking back trucks’ worth of costumes for Mardi Gras,” recalls noted costume archivist and conservator Glenn Brown, who helped stage the event. (He also modeled key pieces onstage, including Clark Gable’s suede outfit from 1951’s Across the Wide Missouri.) “Now I’ll see items associated with the biggest names — Judy Garland, Joan Crawford — selling for 100 times what people paid for them, and others are making copies that are either faked or misidentified in [auction] catalogs, like a Rembrandt.” Adding to any authenticator’s challenge is pop culture collectibles’ unique paradox: These commodities are frequently ersatz objects in the first place, they weren’t usually built to last, their value is in most cases purely symbolic, and their wealthy buyers are, almost by definition, hopeless romantics when it comes to the glory of being deceived by screen illusions. “If [these individuals] were buying a company, they’d go up and down over it a million times and not take anyone’s word for it — they’d do due diligence,” posits Veep executive producer David Mandel, a major collector of Star Wars and comics paraphernalia. “But yet people buy stuff all the time and merrily go, ‘I don’t care.’ ” It’s also a category in which larceny and fraud can flourish because some of the structural safeguards found in analogous markets like the fine art world and sports memorabilia scene have yet to materialize. In addition, law enforcement has generally taken thievery in those other sectors more seriously than cases in the entertainment collectibles realm.

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Oscars hit all-time low in early ratings amid liberal political posturing

The Academy Awards registered Sunday what may be an all-time television ratings low for a politically charged broadcast that featured a slate of nominated movies few viewers had ever seen. Initial Nielsen figures gave the 90th annual Academy Awards an 18.9 percent live same-day household rating, which would be the lowest in Oscars history, below the 20.9 percent rating for the 2008 telecast, according to Deadline Hollywood. The early ratings report for this year’s telecast on ABC also represents a drop of 16 percent from the 2017 awards show, which registered a 22.5 percent household rating. As expected, the four-hour awards show included political jabs at President Trump and Vice President Mike Pence, as well as cheers for immigrants and young illegal immigrants known as Dreamers. “To all the dreamers out there, we stand with you,” said actor Kumail Nanjiani, an awards presenter. Some stars wore orange pins from Everytown for Gun Safety “to bring awareness to gun violence prevention,” while others wore black-and-white #TimesUp pins, referring to the #MeToo movement against sexual harassment. Host Jimmy Kimmel called the golden Oscar statue “the most beloved and respected man in Hollywood.” “And there’s a very good reason why: Just look at him. Keeps his hands where you can see them, never says a rude word, and most importantly, no penis at all,” Mr. Kimmel quipped. “He is a literal statue of limitations.” The night’s big winner, “The Shape of Water,” wasn’t a blockbuster, but it did bring in a respectable $57 million at the box office for the best gross by a Best Picture recipient in five years. Still, only two of the nine Best Picture nominees — “Dunkirk” and “Get Out” — grossed over $100 million, and the combined box-office take of the films was the lowest in six years, according to Variety. “As it stands, this is the lowest-grossing crop of best picture contenders since 2011, a fact that should be sending shivers up the spine of ABC executives as they brace for the March 4 telecast,” said Variety’s Brett Lang in a Feb. 20 post.

Nothing really news-worthy..  Just a confirmation that the Oscars, was yet again, just a bunch of nauseating, politically correct, entitlement-minded, extreme liberal, HollyWEIRD elitists sitting around and patting themselves on the back…while going though the usual Trump, and Republican bashing..  And, Jimmy Kimmel was his usual weasley, obnoxious self..    They all just don’t get that most of regular America doesn’t care what they think…and that’s why viewer numbers are at all-time low.

Seal Accuses Oprah Winfrey of Enabling Harvey Weinstein: You Are ‘Part of the Problem’

Grammy-winning singer Seal blasted Oprah Winfrey in a searing post to his Instagram account Thursday, accusing the billionaire media mogul and potential 2020 presidential candidate of being “part of the problem” in Hollywood’s culture of sexual harassment and abuse. The 54-year-old “Kiss from a Rose” singer called out Winfrey for her relationship with disgraced film producer Harvey Weinstein, who has been accused of harassing and abusing dozens of women over a decades-long career in Hollywood. Winfrey made two films with Weinstein’s involvement, including 2013’s Lee Daniels’s The Butler and 2007’s The Great Debaters, and can be seen in online photos embracing the fallen mogul. “Oh I forgot, that’s right… you’d heard the rumors but you had no idea he was actually serially assaulting young starry-eyed actresses who in turn had no idea what they were getting into,” Seal wrote on his Instagram account. “My bad.” The singer included a meme of Winfrey and Weinstein that accused her of being “part of the problem for decades,” and captioned the post with the hashtag, “#SanctimoniousHollywood.” Winfrey fueled speculation that she would make a run for the presidency in 2020 after delivering a fiery acceptance speech Sunday at the Golden Globes, during which she spoke about the #MeToo movement to end sexual abuse and said a “new day is on the horizon.”

How great is this?!?  Kudos to Seal for calling out Oprah on her brazen hypocrisy.  Excellent!!

‘Star Wars: The Last Jedi’ opens with $220M, 2nd best weekend all-time

“Star Wars: The Last Jedi” rocketed to a debut of $220 million at the North American box office, landing the second-best opening ever and slotting in behind only its predecessor, “The Force Awakens,” according to studio estimates Sunday. The Disney blockbuster became just the fourth film to open above $200 million domestically. Aside from “The Force Awakens” ($248.8 million), the others are “The Avengers” ($207.4 million) and “Jurassic World” ($208.8 million). Accounting for inflation, the debut of 2012’s “The Avengers” would rank just ahead of “The Last Jedi.” “The Last Jedi” is off to a similar start overseas, too, with $230 million in international ticket sales, said Disney. That brings its three-day global haul to $450 million. As anticipated, “The Last Jedi” fell shy of the opening weekend for J.J. Abrams’ 2015 franchise reboot, which eventually grossed $2.1 billion worldwide. But the massive debut not only puts “The Last Jedi” in the record books, it singlehandedly brightens what has been a disappointing year for Hollywood. The weekend was far and away the highest grossing of the year. The opening also gave the Walt Disney Co. the opportunity to flex its muscles on the heels of its deal announced Thursday to purchase 21st Century Fox for $52.4 billion. As part of the acquisition, Disney will take control of 20th Century Fox, one of Hollywood’s six major studios. Fox, as it happens, was the only studio to open another new wide-release film against “The Last Jedi.” Its family film, “Ferdinand,” was essentially stampeded by “The Last Jedi,” grossing $13.3 million. “Ferdinand” and other upcoming releases will look for more room in the coming weeks, once the “Star Wars” tsunami has waned. While Abrams’ reboot capitalized on a decade’s hiatus for “Star Wars,” Rian Johnson’s sequel didn’t have the same luxury of freshness. It follows not only “The Force Awakens,” but last year’s spinoff, “Rogue One.” That release opened with $155.1 million, and ultimately took in a little more than $1 billion globally. Johnson instead aimed to distinguish “The Last Jedi” by introducing some new tones to George Lucas’ space opera. “The Last Jedi” is more irreverent than previous chapters. The plan has seemed to work. Critics gave Johnson’s film a 93 percent fresh rating on Rotten Tomatoes. Audiences endorsed it, too, with an A CinemaScore. Signaling its faith in Johnson’s course for “Star Wars,” Lucasfilm earlier announced that Johnson is developing another trilogy for the franchise, the first of which he’ll write and direct. Abrams is set to return to direct Episode IX after he was brought in to replace Colin Trevorrow.

I saw The Last Jedi yesterday, and thought it was excellent!  May the Force continue…

‘Buffy’ star James Marsters reflects on difficult scene: ‘It was a horrible day’

James Marsters is reflecting on his iconic, bleached-blond super villain character Spike 20 years after “Buffy The Vampire Slayer” premiered. “To Joss Whedon, evil is not cool and I really respect that — Spike was put up as cool and evil only because he was a disposable character,” Marsters, 55, told Page Six. “He was supposed to die.” The “Runaways” actor told us that Whedon had intended for Spike to get killed off by Angel, the show’s moral vampire, early on. Whedon, who created the show, was not happy when fans began to like Spike. “It was not supposed to be romantic, but the audience was responding that way and Joss was freaking out,” he told us. “He backed me up against a wall one day and said, ‘I don’t care how popular you are, you are dead.’” He continued, “Spike was the wrong boyfriend. Spike was not ready for Buffy during the run of the show. He was way below her and because the reaction was so strong … they had to do something dramatic to prove that wasn’t true.” The move, which became one of the show’s biggest controversies, came in the sixth season of the series when Spike attempts to rape Buffy in the bathroom of her home before she fights him off. “It was the hardest day of my professional career. It was a horrible day,” Marsters told us. “I personally don’t like to watch that stuff. I will not go to a movie if I know that’s in there. I will turn the TV off if it pops up. I will pass on auditions if thats what they want me to do, but I was contracted to do it.” Marsters says the storyline came from one of the female writers who threw herself on an ex-boyfriend in college in hopes of him taking her back. “She went to his apartment and was convinced if they made love one more time that everything would be fine,” he explained. “He had to physically push her off and that just crushed her and stuck with her all her life.” The actor says he has no regrets about doing the scene and despite the mixed reviews, it set Spike up for his “journey toward redemption.” Marsters will be back on TV Nov. 21 starring as a super villain (of course) in Marvel’s “Runaways” on Hulu.

Here at The Daily Buzz, we rarely get into inside-HollyWEIRD nonsense and post entertainment articles.  But, c’mon..  This is Buffy; a classic.  How could we resist?   🙂

 

Jessica Chastain Admits Hollywood Has No Moral Authority: ‘We’re Very Quick to Point the Finger at Others’

Oscar-nominated actress Jessica Chastain went directly after a key issue that, in the wake of the Harvey Weinstein sex scandal, will affect Tinseltown for at least a generation — the fact that the decades-long, industry-wide cover-up of sexual misconduct has destroyed whatever residual moral authority Hollywood had left. Speaking at an Elle magazine event Monday, Chastain said, “Oh we’re very quick to point the finger at others and address the issue with social action and fundraising. Yet there is a clear disconnect between how we practice what we preach in our industry.” She added, “We rally against the presidential candidate who slants a narrative of his sexual assault as mere locker room talk, but at the same time we ignore the stories and warnings of sexual predators in our offices.” While the knock against President Trump is a myth perpetrated by a dishonest national media that continues to lie about Trump “admitting” to sexual harassment in the infamous Access Hollywood tape (he did not), Chastain’s overall point is dead on. There is nothing leftwing Hollywood enjoys more than to spend $50 million on a movie no one will see as a means to scold and look down upon normal Americans, most especially conservatives and Christians, who live in the suburbs, the south or anywhere not on a coast. After Hollywood’s defense of admitted child rapist Roman Polanski ten years ago, this was already laughable. The Weinstein scandal, however, is something altogether different. The public now knows that the very same Hollywood that jumped on the War on Women bandwagon, that slashed and burned every Republican in sight over the issue, that backed Hillary Clinton… That this industry has the dirtiest and most disgusting backyard in corporate history. While Hollywood donned their shrill pussyhats and stridently lectured the rest of us, Tinseltown was aggressively shielding, enabling, and protecting countless predators and harassers. And these harassers and predators are still being shielded.

Indeed..  Well said John!  John Nolte is responsible for that spot-on op/ed.  HollyWEIRD is all about “do as I say; not as I do.”  They’re an industry, the majority of which are narcissistic, self-righteous, arrogant, extreme liberal, elitist hypocrites.  And, they pat themselves on the back each year at that nauseating vomit-worthy get-together called the Oscars….where they tell each other how wonderful they are, while talking down to the rest of us peasants in middle America.  Kudos to Jessica for at least acknowledging that HollyWEIRD has no moral authority.