November 07, 2017
The daily schadenfreude derived from watching mouth-breathing leftist sheep cannibalize one another in the aftermath of their collective failing of the greatest shit test ever aside, I find the evangelical left’s Hollywood liberal fatwa on filmmaker James Toback to be most peculiar.
Toback, like Harvey Weinstein, is currently under investigation by the Beverly Hills police for numerous allegations of sexual assault (over 300 and counting!). On the surface, the narrative surrounding Toback seems consistent with that of Weinstein (the ultimate embodiment of sad, pathetic #ImWithHer “male” feminist ally projection) or Kevin Spacey.
Just another “everyone knew” worst-kept (not) secret in Hollywood finally seeing the light of day, right?
When their scandals initially broke, both Weinstein (a capo in the Democrat Media Complex nerd Mafia) and Spacey reacted in a manner that would suggest that neither one of them realizes that the ’90s are over. In the former case, Harvey declared war on the NRA and pulled a Hillary Clinton, insisting that commie rag The New York Times was part of a vast “right-wing conspiracy” out to get him. As for the latter, Spacey immediately attempted to deflect pedophilia allegations by pulling the gay card in a year where the sitting Republican president is more “liberal” on gay marriage than Obama was in 2008.
We live in interesting times.
Toback, on the other hand, is hardly your average, garden-variety Hollywood liberal (in fact, I’m not even sure the guy has ever even identified himself politically). He has a reputation—he made a semiautographical film called The Pick-Up Artist and was the subject of a famous Spy magazine feature about his notoriety as a womanizer—that long precedes recent events. While none of this excuses Toback should he be proven guilty of committing a crime, the noise surrounding his behavior hardly qualifies as news, least of all to him or anyone remotely familiar with literally any of his work.
In The Outsider, Nicholas Jarecki’s 2005 documentary that follows Toback’s attempt to make a film outside of the studio system, friend and frequent collaborator Mike Tyson describes Toback (while Toback laughs nearby) in simple terms:
Toback. Deviancy. Toback. Deviancy.
The idea that I would offer a part to anyone for any other reason than that he or she was gonna be the best of anyone I could find is so disgusting to me. And anyone who says it is a lying cocksucker or cunt or both. Can I be any clearer than that?
Toback’s statement signals that he’s either well versed in Vox Day’s 2015 masterpiece SJWs Always Lie, a psychopath, or both. In any case, the whole ordeal is sketchy.
I can’t help but get my Alex Jones on and wonder if the entire fiasco surrounding Toback is a practice run (the chickens just came home to roost for Toback’s friend and publisher, Brett Ratner) for the agenda-driven new philistines in the elite media as they ramp up for what could be their biggest takedown yet: Warren Beatty.
If you accept the premise (as I do) that 2016 was a nationalist-populist redux of 1968, the recent Oscar snafu with Beatty (the Wilt Chamberlain of Hollywood, not to mention Toback’s best friend) and Faye Dunaway, stars of the “antiestablishment” classic Bonnie and Clyde, hardly seems like a coincidence.
After all, is there a worst-kept (not) secret in Hollywood than the fact that Warren Beatty has gotten a lot of tuchus?
In Peter Biskind’s superb biography of Beatty, Star: How Warren Beatty Seduced America, Beatty, once a “progressive” counterculture icon of the 1960s and 1970s, discusses how his Virginia upbringing influenced his initial decision to rebel and move to Hollywood:
In the Fifties, when I was a kid, I was walking around in a mode of behavior that related to centuries of protestant oppression. Every cell and fiber around you was influenced by religious upbringings of the past. It was a very puritanical time.