Michael McCaffrey is a writer and cultural critic who lives in Los Angeles. His work can be read at RT, Counterpunch and at his website mpmacting.com/blog. He is also the host of the popular cinema podcast Looking California and Feeling Minnesota. Follow him on Twitter @MPMActingCo
The once-great Clint Eastwood was the embodiment of America, and his artistic deterioration mirrors the country’s precipitous fall. This feebleness is perfectly captured in the thoroughly underwhelming ‘Cry Macho.’
HBO’s docuseries on New York, ‘NYC Epicenters 9/11-2021 ½’, perfectly encapsulates everything that is wrong with Spike Lee as a filmmaker, as it’s relentlessly incoherent and slavishly addicted to identity politics.
In wokelandia, girlboss Cinderella obliterates the patriarchy by choosing her career over love, and the flaccid prince lets his sister take the throne. Why? Because women can have it all and men – obviously – are utterly useless.
The disease of wokeness is running rampant throughout the TV industry, which celebrates diversity of identity as it suffocates diversity of ideas. A discussion at a recent UK TV festival exposed the extent of the malaise.
The Disney+ show presents itself as innocent entertainment. But its woke agenda is red meat to rabid race hustlers and the identity obsessed desperate to disappear the scourge of white men from popular culture.
Despite the administrations in Beijing and Washington having very different worldviews, Nanfu Wang’s fascinating, but flawed, film shows that trusting the government – whether it be communist or democratic – is a fool’s errand.
The gullible Hollywood star exposes himself to be a useful idiot for the military/intelligence industrial complex by producing a blindly orthodox new six-part discussion series on Yemen, Iran, Palestine, Syria and Saudi Arabia.
If viewers look hard enough, they’ll see the surprising anti-American imperialism, and even an eyebrow-raising suggestion that 9/11 was an ‘inside job’, hiding in plain sight in this decent-but-not-great movie.