We aren’t coming to art to go to school on how to think, or how we should live our lives. Film Twitter might be down with it, at least temporarily, but we come to art because we have a need for it.
But it isn’t going to be something the public has any appetite for in any major way. The problem, of course, is that it might have worked during COVID, during Trump perhaps. Satire, humor, subversive content all seems to be disposable in the Brave New World that we are cultivating. The new doctrine of the new left is a kind of Marxist ideology where inequality cannot and will not be tolerated. This is looking more and more like a kind of list of demands being met or else the company will be called out and shamed on social media. But what has changed now, I think, is that the left is no longer the side that pushes back against it. It has been threaded through most of the mainstream Hollywood films for decades. The more a film lectures them the less likely they are to want to watch it. Most audiences today, old and young, can see a “woke” message. The problem is that once you announce your intentions, people will see nothing but that in your eventual product. We are looking at full-blown, unapologetic propaganda. It’s one thing to encourage inclusive hirings behind the camera, but once they start getting into storytelling and the formation of characters, content, and theme to promote a specific ideology then we are no longer looking at art. Profit is not a concern so they can tell people what kinds of products they want to make.
The press has been mostly quiet about it, because who would dare speak up? What can they say about it? Nothing. He seeks instead, like Mark Zuckerberg, like Bill Gates, and like Jack Dorsey to be emperors of a kind, helping to cultivate our modern utopia.Īmazon has released its new inclusion standards and policies. If Jeff Bezos at Amazon wants movies at Amazon to reflect a specific ideology he can do that and, as the richest man in the world, the profit motive is not his main concern. Where once propagandastic efforts had to be hidden from the view of the public, now it is worn as a bad of honor.īig tech is even more powerful than Hollywood, and maybe more powerful than any government in the world. They have done with this enthusiasm, broadcasting their efforts to overhaul every aspect of cinema from writing to production to casting to thematic content. For HBO: executive producers, Lisa Heller and Nancy Abraham.Now that Big Tech has decided to join Hollywood in creating content, they appear to have embraced their opportunity to help build a new utopia. The documentary was edited by Joe Beshenkovsky executive produced by Apatow, Bonfiglio, Teddy Leifer, Jerry Hamza, and Kelly Carlin.
HBO Documentary Films, Rise Films and Apatow Productions present George Carlin's American Dream. Kamau Bell, Sam Jay, Judy Gold and Jon Stewart are among those interviewed for the project. Intimate interviews with Carlin and Brenda’s daughter, Kelly Carlin, offer unique insight into her family’s story and her parents enduring love and partnership.Ĭhris Rock, Jerry Seinfeld, Patton Oswalt, Stephen Colbert, Bill Burr, Bette Midler, W. The two-part documentary tracks Carlin’s rise to fame and opens an intimate window into Carlin’s personal life, including his childhood in New York City, his long struggle with drugs that took its toll on his health, his brushes with the law, his loving relationship with Brenda, his wife of 36 years, and his second marriage to Sally Wade. The documentary examines a cultural chameleon who is remembered as one of the most influential stand-up comics of all time. George Carlin's American Dream, directed by Judd Apatow and Michael Bonfiglio, chronicles the life and work of the legendary comedian.Ĭarlin’s career spanned half a century during which he headlined 14 HBO comedy specials and appeared on The Tonight Show over 130 times, constantly evolving with the times and staying sharply resonant up until his death in 2008 and beyond.
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