← The Matt Walsh Show
The Matt Walsh Show
Ep. 1802 - Hollywood’s Gatekeepers Lost Their Grip. Young White Directors are BACK.
00:45:59
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- [00:01]
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- [00:30]
Matt Walsh
Last night, voters in New York elected a slate of far left communist radicals who will soon be members of the United States Congress. The elections are more significant than a typical primary, and many conservatives, especially Republicans in Congress right now, are missing the point entirely. Or even pretending that last night's developments are somehow a win for the good guys. They aren't at all. But the problem is that many conservatives, especially those in positions of leadership, really don't understand what's happening in this country, why it's happening, how it's happening, or where it's all going. So tomorrow on the show we'll have a very in depth analysis that will hopefully clarify those points and reveal what's actually going on. But the trouble with in depth analysis is that it takes some time to research and write. So stay tuned for that tomorrow. Today I want to talk about something that is certainly very much related. As you know, I spent several years working on a movie that you may have seen called Am I Racist? It's about the corruption and moral depravity of the diversity, equity and inclusion industry, which I infiltrated. In the film, I donned a disguise so cunning and so mysterious that it fooled the brain trust of American dei, including Robin d' Angelo herself. Very proud of the film, which quickly became the top documentary of the decade. We managed to condense the insanity of DEI into a concise 1 hour and 40 minute story, which seemed like quite an achievement at the time. After all, DI is a sprawling industry with all kinds of fake lingo and bureaucracy, along with, you know, support from every major institution on the planet. How can you really do a comprehensive takedown on DEI in less than an hour and 40 minutes? We needed every minute that we had. Or so we thought. In retrospect, maybe there was a way to shoot a much shorter film. This is footage you may have seen from New York following the Knicks victory in the NBA Finals. In just about 10 seconds, this footage does a better job exposing the absurdity of the DEI industry than anything I've seen since I'm a racist. This is a tour de force. It depicts a morbidly obese woman overturning a NYX themed garbage can, spewing trash all over the sidewalk before walking away with the garbage can, looking like she's just carried out the heist of the century for the garbage can. Watch.
- [03:06]
Ryan Coogler
Now.
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Matt Walsh
From the moment I saw this footage and I saw that that specimen stealing the garbage can, I knew there were only three options. She could be unemployed, she could be a DEI executive, or she could be a government employee, probably a teacher, maybe a DMV worker. There was simply no other possibility. There's no chance that she was a functioning, productive member of society who had like a real job. The only question was what kind of leech was this individual? Exactly. And now we have our answer, courtesy of the New York Post. Quote A woman caught on video emptying a public trash can on the street and stealing it during New York City's Knicks championship parade was a director at JP Morgan Chase who was fired Tuesday over the incident, the Post has learned. Angie Baez, 40, was promoted to executive director of Community and Industry engagement for card and connected commerce at JPMorgan Chase more than a year ago, according to her LinkedIn profile. She previously served as executive director of diversity, equity and inclusion at New York based review website the Infatuation, which Chase acquired as part of its broader push into lifestyle and experiential content. Sources say the bank looked into the incident after the video surfaced and a JP Morgan Chase spokesperson told the Post, this employee is no longer with the company. So if the choices were unemployed DEI executive or government employee, Angie Angie Baez turned out to be the second option. Now she's the first option and soon, presumably she'll be the third option. So she'll run the gamut. She'll get the trifecta. As eager as JP Morgan was to fire this woman, and they were probably trying to do it for a long time, actually the New York City government will be just as eager to offer her a job at City Hall. That's typically how things like this go with qualify qualifications like this. I mean, she could be running Mamdani's sanitation department in no time. Now this is one of those stories that even though everyone should have seen it coming, it it does illustrate a very important truth about dei. The job of DEI executives always and everywhere is to flood society with literal garbage. Their whole reason for existing is to walk into an orderly environment where everything's going fine, overturn the nearest garbage can and force everybody else to deal with the results as they kind of saunter away or waddle away. Maybe in this case, they plunder everything they see and leave a mess in their wake without any shame whatsoever. Because their mission in life is to make the world as repulsive and dysfunctional as they are. What DI does in every case is elevate somebody who should be a DMV clerk into a position of power and prestige that dramatically exceeds their capabilities. This woman should not have been an executive in finance or any other industry any more than Kentanji Brown Jackson should be a judge or Kamala Harris should have been vice president. All of these women in a saner society would be scowling from behind their desk at random. People who just want to get their driver's license renewed. They wouldn't dream of doing anything more because women, nobody would lie to them and tell them they're capable of it, because they aren't. But as it stands, ogres like this, who. This woman, by the way, identifies herself online as, quote, Dominican from the Bronx and first generation American, even though she's obviously not an American at all. They're being handed executive roles at JP Morgan, and we can assume since she was based in New York that she was being paid well over $200,000 a year at a minimum. Realistically, she was probably pulling in $300,000 or more than that. What value was she adding to the company in exchange for all that money? Exactly. In what ways will JP Morgan suffer now that a trash can thief is no longer a senior executive? Why are major corporations still employing these fraudsters at great cost, even as they're conducting mass layoffs? Imagine being a white guy who was just terminated in one of the latest JP Morgan layoffs. And then you turn on the television and learn that this woman kept her job. She had to be caught on camera stealing a trash can publicly in order to lose her job while you lost yours, even though you never did that. That should be an instant lawsuit if any of those terminated employees are willing to roll the dice with a New York jury. I mean, it's not as though this woman had a good resume before this incident. Her whole career was selling the DEI scam from the moment she entered the work. Quote. In a bio on the Infatuations website, Baez is described as someone whose dedication to making a positive impact shines in every aspect of her work. The publication adds that Angie's efforts have helped position the infatuation as a trailblazer in the pursuit of a more equitable and relatable food media industry, calling her one of the brightest voices in the space. Baez also appears to have co founded a queer and black, indigenous and people of color owned talent agency, Same Page Company, which is focused on increasing representation and equity in media and industry. It works with artists talent on creative projects, photo shoot, strategy and business affairs. Earlier in her career, Baez worked as Diversity and Inclusion Project Lead at Squarespace and held a top job in diversity and inclusion at Saks Fifth Avenue, Hudson's Bay and Saks Off Fifth, according to another biographer so JP Morgan saw this resume and decided that this was executive material. This is the same institution that recently admitted to debanking the President of the United States. After January 6th, they decided that Donald Trump wasn't fit to have an account with them anymore because he held a rally that JP Morgan didn't approve of. This is not a small thing. We're talking about the single largest bank in the world. They're a pillar of the American economy and every other week they're revealing how unserious and corrupt they are. I'm not even going into the sordid lawsuit involving the Indian former JP Morgan employee who who claims that his white boss sexually harassed him and talked about her cannons. Maybe you've heard about that. That's a subject for another time, but it's all the more galling when you consider who JP Morgan the actual man was. Now, he wasn't known for employing scam artists or debanking his political opponents. His legacy was very clear. He single handedly saved this country from financial catastrophe on two occasions, once in 1895 and again in 1907. We had no central bank at the time like the Federal Reserve, which could have attempted to fix the economy by pumping more money into the markets. When everybody was panic selling and exchanging their dollars for gold, the Treasury's gold reserves began running out, which could have easily meant that we default on our national debt. For the first time ever, Morgan saved the gold standard by resurrecting a Civil War era law which allowed the government to issue bonds to buy coin without receiving approval from Congress. And the law allowed Morgan and other banks that he worked with to provide the government with millions of ounces of gold in exchange for tens of millions of dollars in government bonds. And Morgan ensured that the gold couldn't leave the country either. And then, just a few years later, during the panic of 1907, which involved a massive run of the banks, Morgan, who was in his 70s at the time, pressured other bankers to pull their money into a bailout fund to avert another economic catastrophe. This is how many elites of the era, including John D. Rockefeller, Stephen Mather, who built the national parks, viewed their responsibility. They weren't fixated on maximizing shareholder value because they had more important considerations. Shareholder value doesn't mean much if the entire country falls apart or becomes unrecognizable. So the richest people in the country saw themselves, correctly, as stewards of the United States and its future. In front of a congressional committee in 1912, Morgan was asked, is not your commercial credit based primarily upon money or property? Morgan replied, no, sir. The first thing is character. And the investigator asks, before money or property? And Morgan replied, before money or anything else. Money cannot buy it. Now, today on the left, it's fashionable to describe Morgan as a robber baron. This is one of those pejoratives you hear all the time, although no one ever actually tells you what it actually means. They claim he sold defective rifles to the U.S. army during the Civil War, although it was ever proven that he knew the rifles were defective. They claim he didn't earn his success because he was born into wealth. And in particular, they say that he extracted more from the economy than he contributed, which is the definition of projection, by the way. It's because of Morgan and the process of Morganization or consolidation that we have the railroad system, which obviously benefited the entire country. And as I mentioned, Morgan's bailouts of the US Economy didn't simply save his own business. They they. The bailout saved every business in the United States. Now, what we've lost over the past century are major private institutions with truly legendary leaders who inspire the country and care about the country. Bill Gates built Microsoft, one of the biggest companies on the planet, but he's a degenerate with a creepy personal life. Nobody wants to emulate Bill Gates. He's repulsive and immoral. Tim Cook inherited Apple, proceeded to do nothing with the company except release emojis of pregnant men who, incidentally, look a lot like Bill Gates. Kenneth Lay and Jeffrey Skilling ran the Enron fraud. Elizabeth Hones came up with Theranos. Dennis Muhlenberg, the CEO of Boeing, who blamed the pilots when two of his brand new jets flew themselves into the ground, received a massive golden parachute worth more than $60 million when he was fired. Marissa Meyer, the Yahoo CEO, made millions of dollars destroying the company. Tony Hayward, the CEO of BP during the Deepwater Horizon oil spill, was busy attending a yacht race while the spill was still active. He also said, quote, there's no one who wants this thing over more than I do. You know, I'd like my life back. So when most Americans today think of the CEOs who are running major companies, these are the images that come to mind. People who become extremely wealthy without demonstrating any degree of competence or humanity or really skill. With only a couple of exceptions, Steve Jobs and Elon Musk being primary ones, the leaders of American companies very often don't seem very interested in America. This is a problem that creates a powerful downstream effect. Bad leaders tend to produce more bad leaders in the future. And that's exactly what we're seeing now. As morbidly obese morons who steal trash cans on camera are being handed executive level jobs in finance, dumb and corrupt people tend to hire other dumb and corrupt people. And the cycle continues. Patriotism is easy when it doesn't cost anything. Anyone can stand for the anthem, post a flag on social media, say they support the troops. The harder question to ask ourselves is what do we owe the people who actually volunteered to serve the country? Gratitude is important, but gratitude by itself won't help a veteran find housing. It doesn't help them navigate VA benefits or provide transportation or connect them with counseling either. That's why America's Warrior Partnership matters. As America approaches its 250th birthday, PureTalk and its customers are working to raise $250,000 for America's Warrior Partnership by the end of July. This organization stands on the front line of preventing veteran suicides by helping veterans with the practical challenges that can overwhelm people after military service, housing, transportation, access to benefits, counseling. The basics. The thing that helps people regain stability and move forward. 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But actually, the two things are related in obvious ways because nowhere has the DEI phenomenon been more evident than in the creative fields. Over the past few decades, white men have been driven out of the film and television industries solely because of their skin color and their gender. As Compact magazine has reported, quote, white men directed 69 of TV episodes in 2014 and just 34% by 2021. But that remaining third went overwhelmingly to established names, leaving little space for younger white men. Since 2021, 11 directors under 40 have been nominated for Emmys. None of them have been white men. Now, whenever this comes up, inevitably the response you hear from the left is that plenty of the most successful directors are white men. That's true. They'll cite directors like Steven Spielberg and Clint Eastwood and Ridley Scott, Martin Scorsese, George Lucas and so on. Never mind the fact that the youngest director on that list is in his late 70s. And this gets to the heart of the problem, which is that to the extent that white men are still successful in the industry, it's because they were grandfathered in. And the Compact piece has the data on this quote. Between 2004 and 2013, over 40 Gen X white men received Academy Award nominations for screenwriting. In the following decade, 2014 to 2023, more than 50 Gen X white men were nominated alongside just six white male millennials. So they're pulling the ladder up behind them. In other words, the successful white male directors and screenwriters aren't going to surrender their positions in the name of dei, but they're happy to sign off on the new diversity rules that punish up and coming screenwriters and directors for being white, in particular, white males. And the results have been very evident. Spielberg was 28 when jaws came out. There hasn't been a single major white male director born on or after 1818, 1989, until very, very recently, which we'll get to. So that era's Spielberg would have been rising to prominence in 2017, which was around the time that anti white male discrimination was peaking just after Obama's first term, but also during the initial Trump backlash. Now, today, instead of getting a new Spielberg, we're getting directors like, for example, Ryan Coogler, who produce made films like Sinners, which is explicitly anti white. That's why everyone pretended to like it. He also made Black Panther as well. Now, how did Ryan Coogler get his start in the industry? Well, it's an important question to ask, especially since filmmaking is one of the most competitive industries imaginable. Everybody wants to be a director. It's a dream job. So how did Coogler stand out from the crowd? Well, it turns out that he applied to something called the Sundance Institute. And back in 2012, he was accepted into the Sundance Screenwriters Lab, a highly competitive and intensive incubator that provided him with mentorship and, most importantly, grant money to make his first film, along with all the necessary staff. Actually, they provided a lot more than that. Watch here as Ryan Coogler explains what motivates him to make films. And listen as he explains how Sundance basically made the film for him. Listen.
- [18:57]
Ryan Coogler
Cinema is a format of telling a story that's so immersive that it works like no other, no other medium. And through that storytelling process, human beings are able to connect with people that they never would have come in contact with their entire lives. That's why storytelling is so important. That's why making sure filmmakers that have different perspectives can get out there and get made and get seen. When I first wanted to make this film, I saw what happened to Oscar Grant on videotape, and I couldn't believe what I was seeing. I was shocked and hurt and afraid. And the best way for me to get that out was through using my filmmaking voice. I thought, you know, the support from the labs was ongoing. Continued, continued support. When I left the Sundance labs and I went back to continue to make my film, Michelle was constantly calling me to check in. Hey, what do you need? You know, what do you guys got going? I was still living at home with my parents in the house with seven people. It was impossible to make a film in that circumstance. I love my family, but I get a call from Michelle, and she says, hey, man, we're able to support you through a grant process, and with this money, you can get your own place. So I was able to get my own place to live. It was amazing. You know what I mean? Me and my fiance got our own place, and I was writing, you know, able to work on the script, work with talent and the cast. It didn't stop there. They said, hey, who do you need? Who do you need for cinematographers? We can set you up with that. When it was time for me to shoot, I wanted to shoot film. You know, I wanted to give the story a tactile feel. You know, film is expensive. They had relationships with Kodak. They were able to set that up for me, got us to shoot film. The biggest thing that was most important was to shoot the film film in the Bay Area. They were able to help cut costs, provide grants so that we shot the film at home. We made the film that we wanted to see. It didn't stop there. We needed somebody to edit the movie when we were done. We had no money at the time. Sundance Labs reached out and they said, hey, we can give you guys funding to bring the editors up that you need, the editors that you want right there in the Bay Area. And the support continues. And it continues. It continues, and it's continuing today with this award that you guys have graciously decided to bestow upon me.
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Matt Walsh
So first he says that filmmaking is all about helping audiences see people they wouldn't normally meet in real life, which is absurd. It's a principle of DEI that you hear all the time, even though it's completely false. Representation does not make a good story, nor does it contribute to a good story. It's got nothing to do with a good story. And then, without missing a beat, Coogler states that he wanted to make films in response to the death of Oscar Grant, one of the original BLM heroes from back in 2009. Oscar Grant was resisting arrest around 2am on a train platform in Oakland when an officer attempted to Taser him. And the officer mistakenly grabbed his gun and shot him. Was clearly a mistake. The cop said he was going to use the Taser, and then he reacted with shock when he fired. It was a tragedy, but it wasn't murder. And it certainly had nothing to do with race. But for Coogler, this incident was going to be the basis for his filmmaking. He decided to make fake race narratives into a fundamental pillar of the movies he created. And hearing this, the Sundance Institute did most of the hard work for him. They got him a house, they got him editors, they got him cinematographers connected in with force. Whitaker's production company, which produced his film every day. The liberal white women running this program wanted to know if he needed anything else. And then once the film came out, Sundance gave it a bunch of awards as there's. There's nothing organic about any of this. And this is the kind of process, this is how. This is how they've been able to drive the young white males out of the film industry is through things like this. Ryan Coogler and his films are a vessel for white liberal guilt. That's why Sinners, which is not nearly good enough to win an Oscar, won the best pictures for that reason. Now, Coogler is a decent filmmaker. He'd be making pretty good movies even without all this help. But we can say with certainty that he got a major boost in the process, not only because of his politics, but also because he's not white. And that's not a conjecture. It's based on the words on the Sundance Institute's website, Quote, we aim to reflect inclusion, racial equity and accessibility across our organization and in all of our programs and platforms. This includes, but not limited to staff, artists, fellows, advisors, patrons and guests of Sundance Institute. Sundance also notes that, quote, our events and programs are designed to encourage diverse perspectives while maintaining a culture of mutual respect, were committed to freedom of creative expression and uphold anti racist, anti sexist, anti discriminatory, discriminatory actions in all areas of the Sundance Institute community. Now, as you probably know, in DEI speak, being anti racist means a lot more than we don't discriminate. Quite the contrary. Being anti racist, as Ibram X Kendi, AKA Henry Rogers told us, means that you engage in active discrimination against white people in order to benefit non whites. That's what it means for the Sundance Institute to reflect racial equity in all of our programs and platforms. It means that if you're a white kid from the suburbs who wants to make actual films instead of racial propaganda, the Sundance Institute is more likely to pass over your application, which means you'll probably never get your big break. Now, film schools like USC and NYU of course, do the exact same thing. Any of these institutions that have a diversity programs, that's what it means. Diversity itself. As we know, diversity specifically means not white males. So any institution that wants to, wants to emphasize diversity, what they're saying is, we want a diverse person is a not white male. That's what it means. Efforts to bring in diversity means we want fewer white males. Everybody else is fine, literally everybody else. You just can't be a white male. And so this is what they've been doing. Same for production companies and talent agencies and PR firms. At every level, black directors, female directors with the right politics are given priority. This is from Alex Webster, the creative director of Outpost Studios, an independent platform for documentaries and commentary. Quote, diversity quotas are real on screen. I've had perfectly good contributors dismissed out of hand because they're white men, forcing me to go back, waste more time and find female and minority contributors who just weren't as good. I'm not saying there can't be. There can't be just that for those projects, they weren't. I've had discussions as to whether a half Filipino or an Iranian raised here counts as diverse. Does he play as diverse? An actual thing that was said and behind the camera? I've been told to my face that they'd love to have me as director for a project, but the director had to be black. Try being A white bloke the wrong side of 50. In the industry, they struggle. Curiously, the poshest people survive. Though one director I knew managed to get on a BBC career scheme reverse reserved for diverse talent. The production manager helped him fill in the form, claiming he had anxiety, which counted as mental health equals diverse. He was a white guy. Now, as you may remember, back in 2015, there was an activist campaign called Oscar so White, which came about because all the acting nominees were white. In a response, the Academy announced that they doubled the number of female members and tripled their members of color, as they called them. They also announced that in order to qualify for a best picture nomination, quote, films will have to meet diversity inclusion standards. Among them is the rule that at least one of the lead actors or significant supporting actors is from an underrepresented racial or ethnic group in a specific country or territory of production. This is the same representation nonsense that Coogler was pushing at Sundance, only now it's mainstream. As a professor named Harold Ulig pointed out at the time, Hollywood movies are watched worldwide. If there truly were interest and diversity to reflect the lives and complexions of movie audiences, at least half of the participants should be Asian, many should be Arab, many from Africa, and most of them should not be nearly as beautiful as the typical lead actor or actress. Now, nobody could argue with what the professor was saying, so they tried to have him fired instead. In Hollywood and everywhere else, discrimination against white talent, white males in particular, became mandatory. James o' Keefe recorded a Disney executive on camera admitting that white people, including the executive himself, are disadvantaged in the industry. Watch.
- [27:23]
Michael (Disney Executive)
Certainly there have been times where, you know, there's no way we're hiring a White House.
- [27:29]
Ryan Coogler
It's kind of.
- [27:30]
Michael (Disney Executive)
Yeah, unspoken. There are times when it's spoken, but
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Matt Walsh
how would they say it?
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Michael (Disney Executive)
There's no way we're hiring a white
- [27:36]
Ryan Coogler
helmet,
- [27:38]
Matt Walsh
like, straight to you or.
- [27:40]
Michael (Disney Executive)
Okay, they'd be very careful how they message that to agents.
- [27:43]
Narrator/Interviewer
According to these videotapes, Disney blatantly discriminates against whites, white men in particular.
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Michael (Disney Executive)
I think I'm sort of, like, well prepared for it. I'm well positioned for it. But as far as Disney's concerned, I'm a white male. That's not who they're looking to promote
- [28:04]
Narrator/Interviewer
at the moment as a white guy. Even Michael has his own doubts about the possibility for advancement for himself at Disney. In fact, Michael. Michael actually got to experience Disney's discrimination against white males firsthand.
- [28:17]
Michael (Disney Executive)
You know, I've been at the company 11 years now, so I have friends in HR and I have friends in those divisions and they're like, look, nobody else is going to tell you this, Mike, but they're not considering any white males for the shop. They're just not. That's not who they want.
- [28:31]
Narrator/Interviewer
They even passed over a qualified half black person for a promotion because they didn't look like black enough.
- [28:38]
Michael (Disney Executive)
We wanted to hire somebody in our department a few years ago now who was half black but didn't like appear half black. And there was a creative executive who was like, we're not like, that's not, that's not what's going. Like. They wanted somebody in meetings who would appear a certain way and he wasn't gonna, gonna bring that to the meeting.
- [29:02]
Matt Walsh
That video is from a couple of years ago was probably the most difficult period for white males to get into the entertainment industry, particularly if they weren't rich commun. But a lot has changed since that video was recorded. And it's now becoming more common for white males to do an end run around the typical Hollywood machine to bypass programs like the Sundance Institute or USC and reach audiences through independent distribution. This past month, the two biggest films in theaters were backrooms and obsession projects made and conceived by young white guys on YouTube. Really, backrooms began on 4chan backrooms had a 10 million dollar budget, just surpassed $300 million worldwide. Obsession put up similar numbers with an even smaller budget. And this is extremely dire news for the Hollywood elites who have worked for so long to exclude white males from the industry. That group is finding their way back without Hollywood's help. I mean, without YouTube, both of those guys would not have big blockbuster films because Hollywood would have snuffed them out because they're white males and they're doing a lot better than the mainstream films that the industry is producing now. Curry Baker, who's behind Obsession, is set to direct a remake of the Texas Chainsaw Massacre. He made it in the industry without, you know, any of these institutions doing all the work for him. America was built by people who worked hard and slept well. If you're not sleeping well, well, you're not operating at full capacity. And this country needs you at your best. That's where Helix comes in. The first step to a solid sleep solution is taking their online quiz. Helix will match you to the right mattress for your body and how you sleep so you're not guessing and pretending to like it after you've already paid. 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They're easy to throw in a cooler, keep in the car, pack for a road trip, or bring along when you're spending the day outside with family. Balance of Nature fits into real life. Real Life includes cookouts. It includes holidays and vacations. Includes all the moments we're actually trying to enjoy. If you haven't tried Balance of Nature yet, now's a great time. Visit balanceofnature.com today and subscribe to the Whole Health System to Get an additional 10% off your subscription with promo code WALSH. That's balanceofnature.com promo code WALSH There are other examples of white male filmmakers bypassing Hollywood as well recently. This is from TechCrunch. QUOTE the two releases of Backrooms in Session follow the surprise success of Iron Lung, a video game adaptation released earlier this year. Directed by Mark Fishback better known under his YouTube account name Markiplier Iron Lung, grossed nearly $41 million domestically. This explains why, as has been reported by the Hollywood Reporter, movie studios are now flocking to Reddit and YouTube to find IP for films. And there's a reason why those places, YouTube in particular, have suddenly become gold mines for creative ideas and creative talents. Because those are places where talented people can find a voice without having to filter through Hollywood's diversity quota system. It's where especially young white males with talent and great ideas can go and be discovered and gain an audience on their own. So Hollywood is now doing an end run around its own diversity initiatives, and this is the second big factor in possibly bringing back white male directors. Audiences are tired of woke slop and want something radically different. That's why the new film Citizen Vigilante, which you may have heard about, is doing so well. I'm not going to spoil the film, but I think it's fair to say you've never seen anything like it. We're all conditioned to the modern Hollywood contrivance in which white actors are often cast as the villains, even when it makes no sense. In the movie the Joker, for example, which was actually applauded in some circles on the right, there's a critical scene early on where the main character is accosted by a bunch of white investment bankers on the subway. Everyone knows that if, if you're going to get roughed up by three people on the New York City subway, you know the mob is not going to consist of three white investment bankers. Of all the people you have to worry about on the subway, it is not the white guy in a suit. But that's what the film went with, because in Hollywood, depicting reality is considered deeply racist. And along the same lines, as we discussed the Netflix show, Adolescence, which became mandatory viewing literally in Keir Starmer's Britain, suggested that knife crime in Britain is driven by young white boys who spend too much time listening to Andrew Tate's Total Nonsense. But the British government saw the show's potential for use as propaganda, so they invited the show's creators to Parliament. They told every school to play the show in class. White people simply have to be the villains. Even when, especially when it defies reality. Citizen Vigilante does away with that contrivance again and again. The film is explicitly dedicated to rape victims in Europe who are betrayed by our legal system. And, you know, in the film, white people are not stabbing innocent old ladies in the park. They're not sexually assaulting school children. Instead the assailants in the film who are doing all the evil stuff are the same as they are in real life. They are non white foreigners who have invaded Britain. So while the film has some problems from a craft standpoint, some of the scenes just don't work. The writing is quite bad in places. If we're being honest, it does accomplish something unique and worthwhile. Watch.
- [36:08]
Interviewer/Questioner
What was it? Traumatic integration.
- [36:12]
Matt Walsh
We're really getting mental health now and support.
- [36:15]
Ryan Coogler
We will be better in the future. I promise that.
- [36:18]
Interviewer/Questioner
It's the right answer. The only problem is that on your social media since the event, I. I have not seen any regret or empathy. In fact, I think you said that she deserved to be late.
- [36:36]
Matt Walsh
What I mean is that they dress wrong and just make boys horny with their miniskirts. They show their legs and breasts.
- [36:44]
Interviewer/Questioner
You wrote that she deserved it.
- [36:48]
Matt Walsh
I will delete it.
- [36:51]
Interviewer/Questioner
Are these the values you're teaching your children?
- [36:54]
Matt Walsh
I teach him the values from Quran and these values from our family.
- [37:00]
Interviewer/Questioner
Well, if these are your values, that women in America and Europe deserve to be raped because of a dress code, why did you come here?
- [37:10]
Matt Walsh
You know that we have several war in our country and we have a dangerous life. That's why we are here. And I think you know that.
- [37:19]
Interviewer/Questioner
Do you know what I think?
- [37:20]
Ryan Coogler
Right?
- [37:21]
Interviewer/Questioner
I don't think it was the good ones that got out of your country. I think it was the bad ones. And I think you brought with you your archaic value system and your commitment.
- [37:35]
Matt Walsh
Now, scenes like this are why the film is over 90% on rotten tomatoes according to the audience score, which is really the only score that matters anymore. It's genuinely surprising. This movie is available for streaming on platforms like Amazon, but as of now, you can watch it there and on Apple tv, et cetera. There have been some efforts to censor it. Germany is refusing to allow advertising for the film or public screenings. But in general, it's reaching a large audience. And that audience is ignoring critics who haven't exactly been kind to the film as you would expect. One review reads, quote, citizen Vigilante is a contender for the worst movie of all time. A 90 minute call to violence fueled by the director's racism disguised as a film. This is an abhorrent and dangerous mess. Now, these kinds of reviews are not deterring people from watching the film. Actually, those reviews are basically a recommendation for. That's the kind of review you, you read and you're like, oh, I gotta see this. Oh really? I gotta see this one. Nor did industry pressure prevent this film from getting made or from being available on streaming services, It's a pretty significant sign that the tide has shifted. And it's not the only sign. All this progress is infuriating leftists who were convinced that post 2020 they'd continue to have a stranglehold on all media for the indefinite future. Over at a website called the Ankler, they're panicking over charts like this one. Take a look. It purports to show the number of films made by non whites each year out of the top 100 films. As you can see, the number peaked in 2021 and things have been downhill ever since. And the media journalists are not taking the news very well, to put it mildly. Quote. Okay, not good. I mean, pretty terrible for only 17 to be directed by non whites, given the makeup of the country, not to mention the world and Hollywood history we're supposedly overcoming. So the implication here again is that every demographic group needs to have proportionate representation among the top directors. Even if they're not producing good content. They're not accounting for the quality of the films at all because they don't actually care about the films. Their only concern is to prevent white males from making them. Then there's this chart showing the number of black filmmakers out of the top 100 films, which you can see here. It's also dire from their perspective. But worst of all is the representation of the Latines or the Latinx or whatever we're supposed to be calling them, they're really not performing well at all. Quote Since 2018, Latino directors have gone from zero films a year to one for a group that makes up approximately a quarter of the US box office totals. And then the article ends with this paragraph which I'm going to read verbatim because of the lack of self awareness, which is truly extraordinary to behold. Quote. If you think that the direction of the film industry in the last decade represents any success commercially, culturally, you name it. And with the changes happening in the world, looking ahead 10 years, how much do you think an industry making basically giant action films and sometimes horror films composed by a narrow demographic band representing, say, the most privileged 10% of the population, is going to be relevant to anyone? We need to tell different kinds of stories in different ways. Well, this is all completely correct, but the author doesn't understand why. No, the direction of the film industry over the past decade hasn't been a success. It's been terrible precisely because of all the DEI mandates that have excluded young white males, particularly white males who aren't deranged, leftists from the industry. That's why films are less creative. It's why no one's watching them anymore. That's why all the stories sound the same. But the industry can obviously be relevant, as evidenced by backrooms and obsession. If young directors are making films that are bringing in $300 million on a ten million dollar budget, then the movie industry is not dead. It's just returning to what it was before the left began the coordinated effort to destroy it, order to advance their own political agenda. Because the fact is, no matter how you feel about it, white males have historically accounted for most of the greatest artists of all time in every artistic medium imaginable. And this is especially true for film, where any credible list of the greatest filmmakers ever will not just mostly include white males, but will basically be only white males, right? Spielberg, Scorsese, Hitchcock, Coppola, Kubrick, Lumay, the Coen brothers, Tarantino, Scott Fincher, Nolan Ford, Wells, et cetera. You name it, that's who we're talking about it. When you go out of your way to exclude and marginalize and minimize this demographic as a punishment for being so historically great at the job, you end up with a worse product. So any move away from this kind of discrimination is not just a win for racial equality, quote unquote, which everybody pretends to care about, but a win for the art form itself. Now, the truth is that they made a fundamental mistake when they assumed that talented white men could be silenced merely by shutting them out of the bureaucracy that manufactures filmmakers and musicians and authors and everyone else. That was a temporary setback. Yeah, but the thing about talented people is that eventually they'll find a way to outsmart the lazy, the bitter and the entitled, while untalented. People who've never done anything worthwhile in their life, like the obese JP Morgan DI executive, can't achieve anything or go anywhere without being artificially put there. But. But sheer talent can still win in the end. And as the 4chan to YouTube to theaters pipeline clearly demonstrates, after many years of audiences having to endure turgid Hollywood slop, that's exactly what's happening. That'll do it for the show today. Thanks for watching. Thanks for listening. Talk to you tomorrow. Have a great day. Godspeed. Last month we judged Martin Luther King Jr. Not by the color of his skin, but by the content of his character. American school kids spend a lot of time hearing about MLK and Rosa Parks. Have you noticed no one ever asks what Birmingham, Selma and Montgomery are like today? The legacy of the civil rights movement wasn't a racially harmonious utopia. It's hollowed out urban cores, hundreds of thousands of dead Americans, raped grandmothers, ethnic cleansing entire neighborhoods. This month, we we survey firsthand accounts of the historic wave of nonviolent crime riots unleashed on this country by the civil rights movement, which caused more enduring damage on America's greatest cities than the atomic bombs dropped on Hiroshima and Nagasaki. Who were the winners and who were the losers? What's the truth about redlining, white flight, affirmative action? Don't want to miss the second part of our special on the civil rights movement, the looting of America on Daily Wire. Plus.