Amazon Studio's Playbook to Ruin Cinema

Estimated Reading Time: 3 minutes 42 seconds

Amazon Studio’s new “playbook” makes it official, diversity, not talent, skill or merit, is the only thing that matters anymore in the entertainment industry

The stunning document is shameless in its disdain for artistry and individuality, and its aggressive worship of all things woke.

The entertainment industry and the art of cinema took a gargantuan step on their relentless death march into the hellscape of the woke Mordor recently when Jeff Bezos, the Sauron of Amazon Studios, released his new “diversity, equity and inclusion (DEI) playbook”.

Following in the footsteps of the Academy Awards, which implemented new diversity and inclusion mandates into awards eligibility criteria, and Disney, which has turned the happiest place on earth into the People’s Republic of Wokestan, Amazon Studios, the new home of James Bond and Rocky, has, like a suicide note, put in writing its demand that film and TV ignore talent, skill and merit when hiring in favor of diversity, equity and inclusion.

It’s now clear that the corporate human resources junta has successfully transformed Hollywood into nothing more than the propaganda arm for the woke Savonarolas who burn art and entertainment on the bonfire of inanities that is DEI.

Among many things Amazon’s “playbook” demands are creative roles on productions being 50% women and underrepresented racial/ethnic groups by 2024, and documentation and reporting of these diversity quotas is required both pre and post production. Unfortunately, the exact skin tone and percentage of “racial/ethnic” blood needed to qualify as belonging to an underrepresented group, and the papers you’ll need to show to the DEI gestapo to prove it, are not made clear.

The insidious “playbook” also declares its commitment to “authentic portrayals” and its intention to cast “actors in a role whose identity aligns with the identity of the character they will be playing (by gender, gender identity, nationality, race/ethnicity, sexual orientation, and disability) and in particular when the character is a member of an underrepresented group/identity.”

In other words, Amazon appears to be outlawing the art of acting as only disabled actors can play disabled characters and only LGBTQ actors can play LGBTQ roles. This is what happens when human resources deplorables take over the creative process.

One wonders how exactly Amazon will check if an actor up for a lesbian, gay or bisexual role is the real deal or not? Will actors be forced to “prove’ their lesbian, gay or bisexual bona fides by performing a sex act with an appropriately aligned producer? Maybe the casting couch can get a public relations facelift if it’s used to help Hollywood achieve the woke nirvana of diversity, equity and inclusion.

Of course, from an artistic perspective, the absurdity of Amazon’s totalitarian woke decrees is only topped by its power to suffocate and stultify creativity.

Consider this, some of the greatest performances we’ve seen in recent years would be wiped out by Amazon’s DEI manifesto, and it wouldn’t be surprising if eventually they’re retroactively cancelled for not being aligned with the new mandates.

For example, Daniel Day-Lewis is one of the greatest actors we’ve ever had, but despite not being disabled he won an Oscar for playing Christy Brown in My Left Foot, and won two Oscars for playing Americans in There Will Be Blood and Lincoln, despite being British and Irish.

In addition, Sean Penn isn’t gay but won an Oscar for playing Harvey Milk, Eddie Redmayne is able bodied but won for playing Stephen Hawking, Colin Firth won for playing King George VI but didn’t have a royal stutter and Jamie Foxx won for playing Ray Charles despite not being blind.

Even last year’s crop of movies would be affected by Amazon’s woke encyclical. Anthony Hopkins doesn’t have dementia but won the Best Actor Oscar playing a man suffering from that malady, Daniel Kaluuya won Best Supporting Actor Oscar is British but won for playing an African-American, and in Amazon Studio’s own Sound of Metal, Riz Ahmed was Oscar nominated for playing a deaf character but has perfect hearing.

Two of Amazon’s big hits from last year, Borat Subsequent Moviefilm and Coming 2 America violate this new woke law too as Brit Sacha Baron Cohen played a Kazahkstani, and New Yorker Eddie Murphy is played an African King. The horror!

Amazon’s decree is so specific it even states “But if the character has a distinct ethnic background, make sure that the actor’s ethnic background doesn’t conflict with this portrayal”, using as an example of a bad approach “are you casting a person of Puerto Rican heritage to play a character who is Colombian?” Under this edict Benicio del Toro’s Best Supporting Actor Oscar for playing a Mexican in Traffic wouldn’t happen because he is Puerto Rican.

Amazon’s “playbook” blatantly declares its repulsion at talent, skill and merit as a casting-criteria when it states that casting directors need to avoid “Relying on your “gut” or seeking “the best person for the job” as that’s an “inherently biased processes that may skew your decision making.”

If this relentless focus on hiring actors, creatives and even crew based on their gender, sexuality, race/ethnicity and nationality all sounds legally dubious if not outright discriminatory, Amazon agrees, as they throw in this playbook disclaimer to cover their backsides, “While this Playbook provides a general overview, it is not intended to provide legal advice, so it’s crucial to discuss these issues with your attorney.”

As a cinephile and lover of quality art and entertainment in movies and tv, I’m looking forward to the day when the despicable woke totalitarian philistines currently running and ruining Hollywood learn the hard way, at the box office and in the courtroom, that “get woke, go broke” is a universal law that supersedes their self-righteous, anti-merit, DEI declarations of blatant discrimination. They deserve nothing less.

 A version of this article was originally published at RT.

©2021

Riz Ahmed says Hollywood under-represents and toxically portrays Muslims...but he isn't telling the whole truth

Estimated Reading Time: 3 minutes 57 seconds

The Oscar-nominated British actor and the Annenberg School for Communication and Journalism at the US’s University of Southern California (USC) have jointly published a study that’s long on complaints and short on facts.

Riz Ahmed, the first Muslim to be nominated for Best Actor at the Academy Awards, is spearheading an initiative to increase the visibility of Muslims in film and eradicate toxic stereotypes in Muslim characters.

As evidenced by his stellar work in, among others, the films Nightcrawler and The Sisters Brothers, the mini-series The Night Of, and his Oscar-nominated portrayal in Sound of Metal, Ahmed is one of the finest actors around, and he seems to be a very thoughtful artist and man.

Unfortunately, on reading ‘Missing and Maligned’, the study by Ahmed’s Left Handed Films and USC’s Annenberg Inclusion Initiative, it becomes apparent that his noble venture is a deeply disingenuous one.

The study obviously started with its conclusion, that Muslims are under-represented in film, and then intentionally limited its investigation and cherry-picked its evidence to make it appear that its preconception was accurate.

The fatally flawed study focuses only on the top-200 grossing films from 2017 to 2019 in the US, UK, Australia and New Zealand. It also fails to look at those on any streaming service, such as Netflix or Amazon Prime, which are among the biggest producers and distributors, and didn’t examine representation in TV shows.

Its disingenuousness is clear when it declares that Muslims make up 24% of the world’s population, but represent only 1.6% of speaking characters in films. This is a deceptive statistic, as the Muslim populations of the US, UK, Australia and New Zealand combined actually constitute roughly 1.5%. In other words, Muslims are slightly over-represented in film in comparison to their population percentage in the countries measured.

The study also gets specific about these individual countries. For example, it decries the fact that the US films on which it focused featured only 1.1% of characters who were Muslim, despite the fact the US has a Muslim population of… 1.1%. It also finds but fails to highlight that Australia actually features more than twice as many Muslims in its films, at 5.6%, than there are Muslims in its population, at 2.6%. And, according to the study, the UK and New Zealand, with their 5.2% and 1.3% Muslim populations, represent Muslims in film to the tune of 1.1% and 0%, respectively.

But, again, limiting the metric to just these four countries as opposed to the English-speaking film industry’s target audience, the entire Anglosphere – the US, the UK, Canada, Ireland, Australia and New Zealand – is deceptive. For instance, if you tally the Muslim population in the Anglosphere, it is 1.5% of the overall population, which is slightly less than the combined percentage of Muslim characters in films in the four countries examined in the study.

The second part of Ahmed’s complaint, which focuses on the toxic stereotyping of Muslim characters, is certainly more compelling, given that vacuous ethnic caricatures are one of Hollywood’s trademarks, but even on this slam-dunk topic, the Annenberg/Ahmed study is shallow, vapid and lop-sided.

For example, in a section titled ‘Modern-day Muslim Characters are Rare’, it uses statistics that reveal that 48.9% of Muslim characters are shown in “present-day settings”. Is slightly less than 50% now considered “rare”? Indeed, the “rarity” claim is even more absurd, as the study also finds that 11% of those characters were featured in scenes “in the recent past”, meaning 59.9% were in scenes in the present or recent past and 40.2% were from “the historical or fantastical past”. These sorts of statistical and rhetorical shenanigans only undermine Ahmed’s credibility.

Another odd study topic, titled ‘Disparagement is Directed at Muslim Characters’, lists words and phrases directed at 41 primary and secondary Muslim characters, such as “terrorist”, “Paki” and “fundamentalist”. The obvious counter to this is that, if films did not show the sometimes vile treatment and harassment of Muslims, then Annenberg and Ahmed would instead accuse them of ignoring Islamophobia.

Further undermining Ahmed’s argument are statements from Ahmed himself. According to the BBC, “Ahmed recently said he enjoyed the fact that the religion and ethnicity of his character Ruben in ‘Sound of Metal’ was not mentioned at all in the movie.”

So, Ahmed wants more Muslim representation in film, but is glad not to be representing a Muslim in a film? Why didn’t he want Ruben to be Muslim? Wouldn’t that have normalized the featuring of a Muslim on screen?

As an Irish Catholic, I totally understand Ahmed’s frustration with under-representation and negative portrayal in film, as Hollywood seems incapable of portraying anyone of faith – regardless of which faith – as anything other than alien or villainous. But Annenberg/Ahmed needed to prove their intellectual integrity by diving into the uncomfortable topic of which ethnic or racial groups are over-represented on screen and even behind the scenes of the film industry.

The pat answer would be white people. They make up 76.3% of the US and 86% of the UK population, yet, in 2018, represented only 69.1% of characters in films. So, which group or groups should have their representation in film decreased to make room for the Muslims Ahmed fails to prove are under-represented?

Until Annenberg, Ahmed and the rest of those raising representation issues acknowledge and address that awkward question, they and their claims will be viewed as disingenuous and short on rigour. If they want to be taken seriously when it comes to under-representation and mis-representation, they need to do more than just churn out a deceptive piece such as ‘Missing and Maligned’, which misses the mark and maligns the intelligence of its readers.

A version of this article was originally published at RT.
©2021

Sound of Metal: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4.25 out of 5 stars

My Recommendation: SEE IT. An insightful and captivating drama that boasts a simple but layered narrative, a fantastic performance from Riz Ahmed and some exquisite filmmaking craftsmanship.

Sound of Metal, written and directed by Darius Marder, tells the story of Ruben Stone, a drummer in a heavy metal duo that loses his hearing. The film stars Riz Ahmed as Ruben, with supporting turns from Olivia Cooke and Paul Raci.

Sound of Metal was released on Amazon Prime streaming service back in November of 2020. I would see the advertisement for it whenever I went online but was always hesitant to watch it as it looked like a rather predictable movie on its surface. I finally made the plunge last week and watched…and boy am I glad that I did.

Yes, Sound of Metal is about a drummer who loses his hearing, but it is infinitely more than that.

For some viewers, the premise of the movie and the opening scenes may be a hurdle, but I wholly encourage you to stick with the movie because it is a multi-layered, dramatically precise, profound and powerful piece of cinema well worth your time.

Director Darius Marder apparently developed this story for over a decade, and successfully navigated the minefield of Hollywood to get it made the way he wanted it made…and it shows.

Marder’s confidence as a filmmaker (this is his first feature) oozes through every scene of the film. The movie never takes the easy or predictable route in storytelling, and every time I thought I knew what was coming I was wrong. Marder’s refusal to rely on conventional narrative arcs and story turns makes Sound of Metal very compelling viewing.

The technical proficiency on display in the movie is impressive, as the film’s use of sound to propel the narrative and heighten the drama is masterful. The way the movie allows the audience to experience Ruben’s hearing loss creates a visceral intimacy that is captivating, jarring and mesmerizing.

The film is nominated for six Oscars, two of which include Best Sound and Best Editing and it should win both awards. The sound design on this movie is exquisite and is a pivotal part of the storytelling. The editing is seamless as scenes are never rushed nor linger too long and the film is perfectly paced.

The cast are terrific. Riz Ahmed is just one of those guys…he is an exceptional actor who has an innate presence to him that is compelling and undeniable. Ahmed is able to draw viewers into him rather than needing to be showy to attract their attention. His work as Ruben is specific and complex, and he never falls prey to the desire to overly emote. This role in lesser hands could have been a great deal of volcanic histrionics, but with Ahmed it is an exquisite exercise in subtlety and nuance.

Ahmed is nominated for a Best Actor Oscar for his performance and while be probably won’t win, he certainly deserves to.

Paul Raci plays a counselor named Joe and is outstanding. Raci is a knock around type of actor who has been nibbling away at the periphery of the business for decades. This is the most prominent role in his career and he makes the most of the opportunity. Raci is so grounded and genuine as Joe I wasn’t sure he was a professional actor when I was watching him. I don’t say that as an insult, I say it to highlight how real he comes across and how devoid of performance his work truly is.

Olivia Cooke also acquits herself quite well as Lou, Ruben’s girlfriend and bandmate. Cooke is an intriguing screen presence and she makes the most of the small role she is given.

What makes Sound of Metal so profound is that it is extremely accurate and insightful when it comes to the issue of drug and alcohol recovery. The film expertly maneuvers through the choppy waters of recovery and never flounders.

Director Marder connects the audience to Ruben and we too fall under the spell of his unseen wound and issues. He seems fine to us because we want him to seem fine. When the reality of the situation is revealed it is a breathtaking moment and a staggeringly well executed piece of cinema.

I loved Sound of Metal because it’s a “simple” bit of filmmaking that makes use of the craft and skill of moviemakiing to create a piece of cinematic art. Obviously, just because something is simple does not make it easy. For instance, if you are an addict the simple solution to your problem is to stop using…but that ain’t easy.

The beautiful simplicity of the storytelling and filmmaking of Sound of Metal is why this movie is so impressive and this type of moviemaking so exceedingly rare.

I also loved Sound of Metal because of Riz Ahmed’s heartfelt and absurdly well-crafted performance. This is Ahmed at his very best and it is glorious to behold.

And finally, I loved Sound of Metal because it dramatically presents the important truth about the intricate process of recovery, one with which I am all too familiar and which America needs to learn in a hurry…that returning to normal isn’t the panacea the addicted mind thinks it is. Becoming sober doesn’t mean your life is perfect and you are instantly happy, it means life is still suffering but now you have to feel it because you aren’t drunk or high.

Recovery doesn’t end with sobriety, it BEGINS with sobriety. Once sober, you can start the journey of self-discovery to find the wounds that cause the pain you’ve been trying to self-medicate away. Returning to normal for the addict isn’t a return to a good place, it is a return to the place that instigated the drug and alcohol use in the first place (An example of which is establishment liberals wanting to ‘return to normal’ after the nightmare of Trump - well…the pre-Trump normal is what got us Trump!). Those in recovery must discover a new normal, one that is based on integrity and isn’t self-deceptive or self-destructive.

If you’re in recovery, Sound of Metal holds important lessons for you. If you love someone in recovery and want to understand what it is like, Sound of Metal is for you too. If you just like exceedingly well made movies, then Sound of Metal is for you too. Sound of Metal is just a terrific film and I highly recommend it.

©2021

Looking California and Feeling Minnesota: Episode 33 - Sound of Metal

In this episode of Looking California and Feeling Minnesota, Barry and I talk the accessible art house gem Sound of Metal. Topics discussed include the subtle brilliance of actors Riz Ahmed and Paul Raci as well as the testicular fortitude of first time feature director Darius Marder.

LOOKING CALIFORNIA AND FEELING MINNESOTA: EPISODE 33 - SOUND OF METAL

Thanks for listening!

©2021

The Sisters Brothers: A Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4.25 out of 5 stars

My Recommendation: SEE IT. An at times funny and also surprisingly moving French, art house “western” that boasts a career best performance from John C. Reilly and a very stellar cast.

The Sisters Brothers, written and directed by Jacque Audiard, based upon the book of the same name by Thomas Bidegain, is the story of the Sisters brothers Eli and Charlie, assassins in 1850’s Oregon. The film stars John C. Reilly as Eli and Joaquin Phoenix as Charlie, with supporting turns from Jake Gyllenhaal and Riz Ahmed.

The Sisters Brothers is a strange film that American audiences, conditioned by Hollywood to expect certain things from certain genres, will probably find frustratingly obtuse. On the surface, The Sisters Brothers is a standard western, with all the revenge fueled shootouts and horse-ridden treks through wilderness you’d expect from that genre, but buried just beneath that veneer of conventionality is the gold of a rich and complex foreign art house film and biblical parable.

I had no idea what to expect from The Sisters Brothers, as far as I knew it could be a slapstick western in the vein of Jack Nicholson’s Goin’ South or something, so I just went along for the ride on which the film took me, and I am ever so glad that I did.

Director Jacques Audiard is a terrific filmmaker, having made three distinctive and at times fantastic French films, A Prophet, Rust and Bone and Dheepan. Audiard’s directing touch on The Sisters Brothers, his first English language film, is exquisitely deft, and his artistic vision and cinematic aesthetic are a perfect match to turn the western genre on its head.

The film is a comedy, of sorts, with the Sisters brothers Eli and Charlie acting like an old married couple, bitching and bickering with one another to much hilarity. But the film is also gripped with an existential and hereditary darkness that gives it a resonant dramatic power.

The film is elevated by four outstanding acting performances. The best of them all is John C. Reilly, a remarkably versatile actor, who gives a nuanced and complex performance as Eli which is the very best of his stellar career. Eli is the more thoughtful of the Sisters brothers, who has a gentle heart and caring soul. Reilly imbues Eli with a palpable sensitivity that, like the character, evolves and reveals itself over the duration of the story. Reilly’s ability to make Eli a genuine human being, rather than a buffoonish caricature, gives The Sisters Brothers a dramatic grounding that is the heart and soul of the film.

Reilly’s Eli is the archetypal feminine in the movie, which is symbolized by his relationship to the spider. In Jungian psychology and in Shamanic traditions the spider is representative of the feminine and of the weaving of fate. Eli has a fateful and intimate encounter with a spider in the film and literally gives birth to a brood of spiders.

Eli’s kindness extends not only to his troubled younger brother Charlie, but to his second rate horse, with whom he grows a deep bond that is quite moving. It is Eli’s feminine nature that is both his greatest strength and also his crippling weakness as it has led to his being usurped and passed by his more archetypally masculine brother for the position of leading brother in the family.

Joaquin Phoenix is one of the best actors on the planet, and he is in the midst of a terrific year in cinema. Thus far in 2018, Phoenix has given stellar performances in both You Were Never Really Here and Don’t Worry, He Won’t Get Far On Foot, and he keeps that streak alive as the combustible Charlie in The Sisters Brothers.

Phoenix is an actor that vibrates with a viscerally chaotic and unnerving unpredictability, and his Charlie is the perfect avatar to highlight that talent. Phoenix’s performance is one of understated brilliance as it is filled with some startling moments of primal anguish and pain.

Phoenix’s Charlie is a deeply wounded soul carrying a grievous original sin, but who has been elevated to the “right hand” of the Father not in spite of that sin, but because of it. Charlie’s great weakness is that he is so wounded he can never mature and evolve enough to survive in such an exalted position. In other words, crazy will only get you so far, but to be fair to Charlie, he comes by his crazy honestly.

What makes both Phoenix and Reilly shine is that they are blessed to have each other off of which to play. Eli ingests spider energy and is transformed, whereas Charlie slays a bear, a symbol of the power of the unconscious and the dawning of a personal spring. Eli’s encounter with the spider leads to transformation, whereas Charlie’s encounter with the bear is symbolic of his breaking of the connection with the unconscious and with that connection goes his chance at self-realization and transformation.

Jake Gyllenhaal gives a solid performance as John Morris, a tracker and wannabe Thoreau who, like the Sister brothers, is trying to understand and deal with the affliction that his father passed on to him. John, Eli and Charlie are all victims of the archetypal father wound, and the malady they carry unconsciously guides them through their lives and propels the film forward. Gyllenhaal’s Morris is more aware of his ailments than the Sisters brothers, or at least becomes more aware of them, which leads him to question the entire purpose of his life.

Gyllenhaal is always at his best when he is understated, and his John Morris is a perfectly subdued and technically proficient performance. Gyllenhaal never pushes or prods with Morris, he simply let’s him be, and that decision makes for a solid contribution to the film.

Riz Ahmed plays Hermann Kermit Warm, a chemist who is hunted by the Sister brothers. Ahmed is absolutely fantastic in the role. Ahmed has a, pardon the pun, warmth about him as an actor that is captivating on screen and that trait serves him well in The Sisters Brothers. Ahmed’s Warm is a Christ-like figure, who radiates a near-defiantly fervent gentleness that is remarkably compelling.

Besides being a biblical and Jungian parable, the film is also a political, religious and economic parable. Mr. Warm is a pied piper for a socialist (and Christ-like, but not necessarily Christian) utopia which is alluring to the idealist and dreamer in all of us. In contrast, the uber-capitalist corporate town of Mayfield is held up as a bastion of deception and debauchery.

The film also touches upon the need for a dismantling of a patriarchy that produces such twisted and tormented forms of masculinity as the Sisters brothers and much of the other violent men in the film. The patriarchy in its old form, namely the character the Commodore, needs to die for these men to ever have a chance to be free from their afflictions and to find the utopia that deep down they have yearned for their entire lives.

The religious aspects of the film are glaring for those with eyes to see them, for instance there is the brothers grooming of each other like apostles or the men anointing themselves with oil in a pseudo-baptismal ritual before they wade into the river. There is also the connection between Mr. Warm and Eli’s horse…who are both, in their own way, beasts of burden, and the viewer should keep a keen eye out for the similarity in the eyes of Warm and the horse at pivotal moments in the film.

The Sisters Brothers is a film with a multitude of layers, each one more interesting, revealing and insightful than the last. If you are planning to see the film, put aside your cultural conditioning and your expectations for a western, and instead watch the film as if it were a dream. Keep a vigilant eye out for spiders, bears, raccoons and the plethora of other signs and symbols that show the way to the film’s profound message.

The Sisters Brothers opens with a shout in the silent darkness of the Oregon night, but then there are flashes of light that splinter that darkness ever so quickly. That opening scene is the story of The Sisters Brothers, for it is a film about alchemy, where finding the gold in the darkness is an act of transformation which leads down the road to redemption. I never expected to be, but I was deeply, deeply moved by The Sisters Brothers, and found it be a profoundly satisfying cinematic experience. I wholly recommend you suspend your expectations and go see this film in the theatre, it is well worth the time, money and effort.

©2018