15 million shekels of shame. That’s what Hollywood ponied up for Obama to judas the black Church in his endorsement of gay marriage. Hollywood, that last bastion of industrial racism in all of America.
, an actor who has been one of the greatest beneficiaries of HollyHate, as we shall see in just a minute, was only too glad to play Obama Boy, collecting the loot at a fundraiser in his home just hours after Obama came out.
30 shekels of silver is what historical Judas got for betraying our Lord. But I have it on good authority that with inflation and factoring exchange value across the centuries, 15 million shekels sounds about right for selling your soul and selling out your people in today’s rates.
So the finest loons of Commiewood lined up to be fleeced for the fun of it. Now as far as I could tell from all the reports, one star who was not there was Whoopi Goldberg. I won’t speak for her; in any case, she’s pals with a lot of these Christ-bashing Christophobes. But in recent years, when the black actress-comedienne who won a Best Actress (Supporting) Oscar over 20 years ago, couldn’t find work and was reduced to some two-bit talk-radio gig, she bitterly complained that getting roles should be about talent, not skin color. She brought up the old idea from theatre that kind of connects the audience to the actor in a play of pretend. We take the actor for the character he is playing, we put the facts aside, “suspending belief,” as they say, for just a few hours and just enjoy the ride. For Whoopi, it seemed that if Hollywood really practiced this, more talented black actors would be working.
But as we know, Hollywood remains to this day the only industry in America where not only do you hire on the basis of race, but racism is all but required in the business. And I’m talking bone-deep, skin-tone, Ku Klux ignorance here. Hollywood saves its blackest blacks for gangsta-killa roles. Now go all the way back to the late greatand fast forward to CSI, on down today, you’ll find the lighter skinned with “good hair” enjoying a different kind of role.
If you advertise for fat lips, coal-black skin, bad teeth, for a hard-core criminal role in Hollywood, no problem. If you advertise for a white blond to play an architect, no problem. Even if a black actress would do a better job.
Hollywood hires white actors for white roles, black for black. No violation. A hundred years ago that ignorance was the official language of the land. But why is such rubbish allowed today? Black actor Lou Gossett pushed for what was apparently written as a white role in An Officer and a Gentleman and won a Best Actor (Supporting) Oscar for it. You might think that you can’t hire a black actress to playin The Queen. For crying out loud, the woman is still alive and she’s very much white.
But that’s not the point. If you want to push it, I could say that it’s a problem to have an actor who happens to be a Jew playing a character who is not Jewish. I could say that I just can’t get over that fact, that I can’t suspend that much belief, that it clouds my ability to see the performance as credible not to mention enjoying the role. That’s why Jewish actors in Hollywood used to change their names to nice WASPy ones.
The fact is when we suspend belief, guess what, we simply suspend belief. No limits. Except for the talent of the actor to take us away in his tale. That’s why “tale” is in the word “talent.” Tale follows talent. We enjoyed Linda Hunt, a white actress, playing an Asian/mixed-race person, a man to boot, in The Year of Living Dangerously. She won an Oscar, a Hollywood first for the gender-bender role. Way back in 1938, veteran German actress Luise Rainer won the second of her back-to-back Oscars for playing Chinese peasant O-Lan in The Good Earth. The famed Madam Chiang Kai-shek, wife of the Chinese Military leader, was amazed that Rainer was not in fact Chinese. The two women became life-long friends.
So Hollywood certainly knows how to work it out when it’s a white actor who will benefit from playing against racial type. (Though not always. I once caught bits of, I believe, playing your vile stereotype of the slitty-eyed Chinawoman. I couldn’t finish the review and don’t care to remember the film.)
In any case, the more that we see black actors playing white roles (whatever the heck that means exactly) the more that we would simply get used to it. Familiarity favors the good, if you will. Generations ago, boys with voices not yet broken played the roles of women in the theatre because the stage was but one step from the streets as far as being a lady was concerned. Black opera singers sometimes play in whiteface but the history of blackface in Hollywood is too painful to go there.
We don’t need to go there. We need the Great White Hypocrites of Hollywood to cease and desist. For the most part, the only time Hollywood breaks from its ghetto-minstrel cabal is when it goes all-ghetto with the all-black cast. This is only the more offensive. Just leave the tale alone. Let talent do the job. If that were the case, George Clooney would still be an out of work actor who was sponging off his aunt singer, who had real talent, let me tell ya.
That’s why Clooney and his ilk can’t wait to cough up the millions for Barack the Betrayer. It’s guilt-gold. Earned for being the white actor at the right audition at the right time.
Obama is Hollywood’s money laundering service.