Category: Hollywood Politics

We Are All James Woods

James Woods is well known for his accomplishments in the entertainment arts.

Consummate actor of stage and screen, he gained a considerable degree of fame for his role in the film adaptation of Joseph Wambaugh’s 1973 non-fiction book “The Onion Field,” a crime thriller extraordinaire.

Over the years James has had the opportunity to work with many a legendary Hollywood director, a distinguished roster that includes the names of David Cronenberg (“Videodrome”), Oliver Stone (“Salvador” and “Nixon”), Richard Attenborough (“Chaplin”), and Martin Scorsese (“Casino”).

In addition to the big-screen circuit, he has taken strolls down the TV road, playing characters the likes of America’s Mayor in the film “Rudy: The Rudy Giuliani Story.”

Industry trophies stand as a testament to his achievements. Among other accolades, he has two Oscar nominations and two Emmy wins to his credit.

Most recently, James has become a focal point of the so-called Twitter Files, the first in a series of documents released to journalist Matt Taibbi by Twitter CEO Elon Musk.

The files detail the behind-the-scenes communications surrounding Twitter’s content moderation decision making (under previous ownership), which involved, among other things, the suppression of a 2020 New York Post story about President Joe Biden’s son Hunter and Hunter’s notorious laptop.

During a recent two-hour long Twitter Spaces session, new Twitter owner Elon indicated that a second drop of Twitter Files will take place at an undisclosed future date, files that will go to Taibbi and Bari Weiss, an additional journalist.

The documents highlight how, just prior to the 2020 presidential election, Twitter executives worked closely with Democrats to eliminate content that was highly inconvenient for them.

The company’s rationale at the time for the extraordinary censorship imposed was that the story constituted “hacked materials,” a determination questioned by many insiders.

The New York Post had made it clear that a computer repairman had the laptop in his possession because Hunter himself had dropped it off.

There was never any hacking.

In simple terms, then-Twitter executives characterized a story that did not emanate from hacked material, as exactly the opposite – hacked material. This was likely done to explicitly hide the facts from an unknowing public.

Files also reveal that Twitter seemingly complied with the Democratic Party’s directives in suppressing the accounts of select celebrities, quite strikingly the account of James Woods.

In the words of Taibbi, “Celebrities and unknowns alike could be removed or reviewed at the behest of a political party.”

James has stepped forward to lead a class action lawsuit against the social media platform as well as the DNC over damage done to his personal civil rights, reputation and career.

“How would you like to fund a class action suit for those who were suppressed?” James asked Elon in a tweet. “I’ll be happy to be lead plaintiff.”

In a recent interview, James emphasized his intent to file a lawsuit over the Twitter matter.

“I can guarantee you one thing more than anything else you’ll ever hear in your life: I will be getting a lawyer. I will be suing the Democratic National Committee no matter what,” he stated.

“Whether I win or lose, I am going to stand up for the rights that every American [is entitled to]…,” James said.

James knows what informed individuals know; that the rights of each and every American are now on the line.

The Taibbi posts also confirmed that former Twitter executive Vijaya Gadde was central to the New York Post‘s suppression of the Hunter laptop story.

Gadde, the social media platform’s former head of something called “legal, policy, and trust,” was later appointed by the Biden administration as an advisor to the Department of Homeland Security in its supposed effort to counter “disinformation.”

Gadde is sure to be brought before the House Judiciary Committee when Republicans take control in January 2023.

“We’re tracking Vijaya Gadde’s role in the suppression of the New York Post story on Hunter Biden’s laptop. We absolutely plan to investigate this more. Stay tuned,” a committee spokesperson told the New York Post.

For his part, Rep. James Comer (R-KY) has said that anyone at Twitter who was involved in censoring The Post’s story will be testifying to the House Oversight Committee.

In response to the report, Rep. Comer said that he wants to bring in “every employee at Twitter who was involved in suppressing the Hunter Biden laptop story” to “explain their actions to the American people.”

He also referred to the Twitter ban as “election suppression.”

Polls have indicated that if voters had known about the Hunter story prior to the 2020 election, the information would have had a determinative impact on the outcome.

According to Taibbi, the only Democrat in Congress who seemed to react to the suppression was Rep. Ro Khanna (D-CA), who deserves credit for reminding his colleagues that the nation must be guided by First Amendment principles.

Rep. Nicole Malliotakis (R-NY) gave a brief summation on what has been revealed to the world by Elon.

“Twitter helped the Biden campaign & Democratic lawmakers to conceal information days before a presidential election. This type of suppression of free speech and information sharing is indefensible,” Rep. Malliotakis said, adding, “House Republicans must thoroughly investigate this matter to ensure big tech is reined in.”

James is hoping that others are going to join him in his fight within the court system.

He has let it be known that he is not one to shy away from legal battles.

“I’ve been a target of these people for six years. They have destroyed my career. They have destroyed my livelihood. They’ve destroyed my faith in a country that my family has defended in the military since the Revolutionary War,” he said.

Spoken like someone with the heart of a patriot.

Here’s hoping that more join James Woods in heart and deed.

Funny Guy David Zucker’s Serious Warning

Humor is David Zucker’s specialty.

Not the lazy blue variety that passes for comedy these days, but the laugh out loud kind that makes your sides hurt, your eyes water and the world disappear.

The mega-successful film director, producer and screenwriter is best known for the legendary spoof flick “Airplane!” and the side-splitting “Naked Gun” and “Scary Movie” franchises.

He happens to be one of our culture’s current reigning experts on all things funny, and he’s sounding an alarm bell for all to hear.

Lucky for us he has joined the ranks of other comedy greats who have issued similar warnings: Dennis Miller, Jerry Seinfeld, Dave Chappelle, Chris Rock, Gilbert Gottfried, Mel Brooks, Adam Carolla, Steve Harvey and John Cleese.

The giants of humor are all saying pretty much the same thing; that Tinseltown’s head honchos and their like-minded fellow residents of the New Woke Hollywood are virtually strangling comedians, comedy writers and comedy itself.

Zucker was recently featured in a video posted by PragerU, where he shared some reflections on his trademark comedy.

He doesn’t think the jokes that propelled his films to the top could be delivered today. Too many folks now fail to understand the nature of comedy.

Unlike most audiences of the past, many of today’s joke consumers are so easily offended that it has risen to the level of ridiculous.

If everything is offensive, then nothing is funny.

New Woke Hollywood is decimating the comedic arts, along with the writers and performers that bring laughter to our lives.

As Zucker stated, “They’re destroying comedy because of nine percent of the people who don’t have a sense of humor.”

He used a real-life Hollywood example to illustrate the point. In a pitching session that he and his writing partner did for a James Bond/Mission: Impossible-style parody, he was stunned by the reaction of an executive just to some of the project’s dialogue.

“One female executive said, ‘This joke is getting pretty risqué here.’ It was a mild joke about the lead female character. Because she had come up through the police department and through the FBI…she needed a breast reduction to fit into the kevlar vest,” Zucker said.

“It was pure oatmeal, so mild,” he said. “Not one of our funniest things, but this was too much. I thought, ‘If this was the criteria for it, we’re in big trouble.’”

In speaking of the past, he said, “We went where the laughs were…We never worried about any of this stuff with the Naked Gun or Scary Movie films.”

Zucker honed his comedic skills in the 1980s and 90s with movies like “The Kentucky Fried Movie” (1977), “Airplane!” (1980), “Top Secret” (1984), “Ruthless People” (1986), “The Naked Gun” (1988), “The Naked Gun 2½: The Smell of Fear” (1991) and BASEketball” (1998).

He added his 21st Century contributions “Scary Movie 3” in 2003 and its sequel “Scary Movie 4” in 2006.

Many of the films that he was involved with are now classics and continue to attract appreciative audiences and younger movie fans.

He is often asked whether his most iconic film could be made today.

“When we do screenings of ‘Airplane!’ we get the question if we could do ‘Airplane!’ today,” he said. “The first thing I could think of was, ‘Sure, just without the jokes.’”

According to Zucker, although in the current comedy climate freedom may be taking a hit, the future actually looks bright.

“Comedy is in trouble, of course, but I think it’s going to come back,” he said. “There’s a pendulum, and the pendulum will swing back. I’d like to see comedy filmmakers do comedies without fear.”

Zucker has gone against the grain in liberal Hollywood. He has even worked on political ads for the GOP and directed a political parody film at the expense of Michael Moore, titled “An American Carol” (2008).

Charmingly, he is a huge fan of Davy Crockett. He once made a cameo appearance dressed as Crockett in “The Naked Gun 2½.” As a matter of fact, one of his dream projects is a Crockett biopic. He also hosted a “Davy Crockett Rifle Frolic” at his ranch back in the 1990s. And he decided to write some additional verses to the celebrated song “The Ballad of Davy Crockett.”

Regarding his faith, he was asked by the BBC some years ago whether he believes in God.

His answer was exquisite.

“Oh yeah, I believe in God,” he replied. “I think there’s much more evidence that there is a God than that there isn’t. I don’t believe that Mother Teresa and Hitler go to the same place. I believe in justice, maybe not in this life, but there has to be justice.”

In addition to justice, no doubt there’s laughter too.

As C.S. Lewis put it, “Joy is the serious business of Heaven.”

How Jimmy Kimmel Became a Democrat Hack

A lot of folks have been wondering what’s up with Jimmy Kimmel. The late-night comic has become more and more vicious in his politics and extreme in his one-sided humor.

As a result, the ratings for his TV show have really taken a hit.

Here’s a theory about how Jimmy’s comedy got wrecked and how his once-popular program fell into a rating’s ditch.

James Christian Kimmel was raised a Catholic. In his youth, he was fervent enough in his faith to step forward and serve at Mass as an altar boy.

Now, both in his politics and joke delivery, he appears to back every left-wing narrative that the dominant media and reigning powers-that-be are pitching, including a load of Dem-devised policies antithetical to his own faith heritage.

As host and executive producer of “Jimmy Kimmel Live,” he has consistently been serving as sort of a polar opposite altar boy for the Democratic Party.

He recently admitted that using so much of his show to aim insults at former President Donald Trump had resulted in his audience being cut in half over the last several years.

He also revealed that ABC is less than pleased with the loss in ratings.

In an interview with the Naked Lunch podcast, he spoke about the shrinking number of viewers, telling hosts Phil Rosenthal and David Wild, “I [Kimmel] have lost half of my fan[base], maybe more than that.”

“Ten years ago, among Republicans, I was the most popular talk show host, at least according to the research that they did,” he said.

He also shared that the network had discussed the idea of easing up on the constant barrage of Trump barbs. But according to Jimmy, he responded to the ABC heads by offering to leave the show rather than moderate his attacks.

“If you want somebody else to host the show, that’s fine, that’s okay with me. I’m just not going to do it like that,” he apparently said. He also claimed that the network reluctantly conceded.

The truth is he has been a Republican basher for as long as he has been a late-night host. Most recently, he was featured in a nasty partisan campaign ad, where he attacked the Republican who is running for the U.S. Senate in the state of Nevada, Adam Laxalt.

A glance at Jimmy’s past provides insight into the possible rationale for his unwavering allegiance to radical left-wing political and cultural ideology.

Prior to becoming the woke host of “Jimmy Kimmel Live,” he was the unwoke co-host of Comedy Central’s “The Man Show.”

When “The Man Show” first debuted in 1999, he accurately referred to the program as “a joyous celebration of chauvinism.”

The show began with a MeToo-violating theme song that included accompanying footage of a male using a leaf blower to remove a woman’s dress.

The program also had a regular segment in which The Man on the Street, namely Jimmy, recruited female volunteers to participate in a supposed game called “Guess What’s in My Pants.”

“I’ve stuffed something in my pants,” Kimmel said, explaining that “you’re allowed to feel around on the outside…You’ll have 10 seconds to then guess what is in my pants.”

Other skits on the show degraded women through use of vulgar props, partial nudity, and highly suggestive language.

In a sketch that degraded African-American individuals, prior to taking to the stage Jimmy applied a dark shade of makeup to his face for a supposed comedy effect.

By committing the above cultural violations over the years, he has broken a whole host of woke rulebook provisions, many of which were memorialized on video.

Maybe he has been trying to do penance as it relates to his newfound woke religion. Or maybe his kowtowing to the left has been the means in which he has avoided the cancellation of his prized television show and reputation.

In any event, although things seemed to have worked for him up until now, the past has a funny way of catching up with a person.

Or in Jimmy’s case, maybe a not-so-funny way.

Woke Hollywood Passes on Pro-life Film despite Top Name Involvement

Kendrick brothers Alex, Stephen, and Shannon have been the creative forces behind many a faith-based box-office hit, including the successful “Facing the Giants,” “Fireproof,” “Courageous,” “Overcomer,” and “War Room.”

“War Room” was actually the No. 1 movie in the country on the second weekend of its release. It was also one of highest-grossing Christian films ever made.

The Kendrick brothers recently teamed up with actor Kirk Cameron to produce “Lifemark,” a movie that deals with some of the most central and poignant themes of our times – relationships, forgiveness, and the film’s primary focus, adoption.

Inspired by a true story, a movie such as this would typically have had Hollywood studio executives competing for the project.

It goes a long way to prove that these are anything but normal times.

Alex is one of the executive producers, as are Stephen and Shannon. But Alex has also co-written the film, and he has an acting part in it as well.

The adoption storyline is particularly meaningful for the Kendricks and Cameron.

Stephen Kendrick and his wife welcomed a daughter from China via adoption.

Cameron’s wife Chelsea was adopted by her parents, and four of Kirk and Chelsea’s six children were also adopted.

For those who haven’t yet noticed, contemporary Hollywood has given itself an extreme makeover in both form and substance.

All of this seems to have happened fairly quickly and also quite craftily. It went from “The Entertainment Capital of the World” to “The Woke Capital of the World,” with the end result being that the largest and most powerful entertainment companies are now haplessly out of touch with the beliefs, attitudes, and values of a large portion of their customer base.

Consequently, despite the viable track records of “Lifemark”’s filmmakers, both its star and its executive producer revealed that Hollywood studios, even those that had worked with the Kendrick brothers in the past, rejected the distribution of the film and did so because of the movie’s pro-life message.

Lead actor Cameron called the rebuff by Hollywood studios “good old-fashion cowardice.”

“Even the so-called faith divisions of studios would rather pass from tens of millions of dollars and support horror, violence, and drag queen movies than risk doing anything that celebrates life,”

Cameron said.

According to Alex, the studios stated that they were not releasing the film because they were “scared of the response,’”

Alex additionally revealed the following: “Several of the studios that have courted us in the past, and wanted us to go with them as distributors, they all turned down this film.”

The studios apparently wanted something else, anything else but this film.

Alex added, “We said, ‘Well, we cannot be ashamed or afraid to share the truth regarding this subject, to share a true story.’ It’s hard to argue with a true story.”

Still, the lack of independent thought displayed by a sizable number of Hollywood executives makes it seem as though they are impervious to the truth.

Fortunately, Fathom Events, a distribution company, was able to make a rational business decision and is going to arrange to have the film displayed in more than 1,400 theaters.

Alex acknowledges that the subject matter of “Lifemark” is a sensitive one.

“It’s become a political battleground in our country,” he remarked, adding, “We are acknowledging both sides, we’re acknowledging the difficult decision to choose to place your baby for adoption, but it is the better decision.”

“This whole path is not always easy. It is often difficult, but it is beautiful. And so this true story was a perfect example of showing how it could go…,” he said.

The movie project began with a telephone call.

While still in the process of wrapping up a previous film, the Kendricks received an unexpected call from Cameron, who had just watched what he described as “one of the most powerful and moving documentaries I’ve ever seen.”

The documentary was titled “I Lived on Parker Avenue,” and it dealt with the story upon which the “Lifemark” film is based.

The plotline centers around a teenage boy who is contacted by his birth mother, a woman who eighteen years prior had chosen adoption over abortion for her then-tiny son.

Alex believes that the movie can play a role in informing and educating people.

“We’re hopeful that churches, crisis pregnancy centers, ministries, all jump on this as a real-life tool to reach people… who are trying to determine ‘is this baby worth saving?’” Alex explained.

His objective in making and promoting this movie project is “to change the heart of the nation.”

To this end, the desire on the part of the filmmakers is for life itself to be ultimately viewed as “precious, beautiful, and worth protecting.”

“Lifemark” is set to make its mark in theaters nationwide on Sept. 9.

John Rich’s Anti-Woke Song ‘Progress’ Soars to Number One

John Rich has tapped into the current Zeitgeist like few others dare to even try, and it seems to be paying off big-time for the country music artist.

His latest inspiration is turning out to be an anthem for the times, one that since its release has been downloaded by millions all around the globe.

The singer-songwriter’s most recent project is titled “Progress,” and he appears to draw upon his extensive band experience, which includes being a member of Lonestar and Big & Rich.

Written, performed, and recorded by Rich, “Progress” shot to the top of the charts in what feels like a nanosecond.

The tune was initially released independently via former President Donald Trump’s social media network Truth Social. Then on its first day it became the global No. 1 single on the Apple Music charts, outperforming some of the biggest pop artists.

The song’s extraordinary rise in popularity is an indication of the sizable population of freedom loving people in the U.S. and the world, whose entertainment choices are a reflection of their deeply held beliefs.

For “Progress,” Rich tapped two prolific fellow country hit songwriters. Co-writers are Nashville Songwriter Hall Of Fame Inductee and country artist Jeffrey Steele and veteran country songwriter Vicky McGehee.

On Truth Social, Rich described the project as his “message to the tyrants running our country into the ground.”

After the song hit the most-downloaded lists, he used his Twitter account to celebrate its success. He wrote, “Felt good to beat the machine today:) Thanks to all of you for the massive support!”

Reflecting the sentiments of so many, Rich’s chorus tells those who are pushing their warped form of “progress” exactly what they can do with it.

The refrain echoes:

“Stick your progress where the sun don’t shine

Keep your big mess away from me and mine

If you leave us alone we’d all be just fine.”

The lyrics of the song go on to take direct aim at specific policies that are impacting our nation and others abroad, including border crises, financial mismanagement, abandonment of individuals, facilities, and resources in Afghanistan, and draconian measures in response to a virus.

The first verse begins with words that express the feelings of people who are justifiably overwhelmed with the many unprecedented changes that have occurred in the past two years:

“There’s a hole in this country

Where its heart used to be.”

In one verse, Rich’s song compares the current administration’s zero-border policy with its ruinous withdrawal from Afghanistan that led to the deaths of 13 military service members:

“They invite the whole world to come live in our land

And leave our countrymen dying in Afghanistan.”

In another verse, the lyrics provide a commentary on the current tendency to denigrate and even try to eliminate Christianity in order to replace it with allegiance to the almighty state:

“They say let go of Jesus and let Government save

You can have back your freedoms if you do what we say.”

The subject of faith is near and dear to Rich, who posed the following question back in 2020: “Why is there such a push to get God out of the conversation?”

He remarked, “The people that want him [God] gone are the ones that want to be God themselves, and as long as God is still in the mix, and people like us recognize him as the ultimate authority, they can never be the ultimate authority for us.”

The lyrics of “Progress” also make reference to the dictatorial policies of censorship in its various forms, which government officials have employed:

“They shut down our pipelines and they shut down our voices

And they shut down our main streets.”

Rich issued a press statement to explain his goals in releasing the song at this particular point in time.

“I, like you, have been watching and living through the systematic destruction of our country. And in the name of progress, we see our border is standing wide open,” he said.

“And in the name of their progress we see our children targeted. And in the name of progress we see crime coast to coast like we’ve never seen it before. And in the name of progress we see people wanting to take our rights away to defend ourselves and our families as we see fit. And so on and so forth in the name of progress,” he added.

Rich also shared his thoughts on the real meaning of the term “progressive.”

“It just struck me as such an ironic thing that everything they claim to be progressive is actually regressive, it’s actually destructive. It’s the opposite which is kinda like they want to do as we’re all learning now,” he said.

The music video of the song projects powerful images of the nation’s so-called progress, including empty grocery store shelves, exorbitant gas prices, and streets on fire as the result of intentional burning and looting gone unchecked.

Yet with all this, the video footage and song lyrics definitely end on a positive note. There are depictions of a wide variety of individuals displaying patriotism, as the lyrics convey strength and perseverance:

“They bent us all over but it’s all over now

Because we figured it out

We ain’t backing down.”

Many thanks to Rich for his anthem artistry. The nation and the world really need it.

‘Lightyear’ Minus Tim Allen Equals a Flop

Hollywood is in love with franchises, and the public enjoys them too.

When it comes to entertainment industry product, franchises oftentimes provide a safe harbor for execs in the risky day-to-day struggle to come up with new projects.

Hard to believe, but a major Disney franchise recently went down in flames. It’s the latest in the “Toy Story” series.

Yes, “Lightyear,” Disney-Pixar’s “Toy Story” spin-off is a dud.

The movie tanked at the box office, taking in only $50 million domestically in its first week. And the following week it took a 65 percent dive, earning less than $18 million.

With a production budget of $200 million, and an additional $100 million or so in marketing costs, Disney is likely looking at a significant loss, despite the fact that the film was thought to be a sure shot.

Franchise power, in the conventional sense, was shown in the box-office performance of prior sequel “Toy Story 4,” which took in a haul of $120 million in its first week.

Moviegoers definitely didn’t show the same love for “Lightyear.”

There are two major reasons for the film’s apparent failure.

1. If you want to draw “Toy Story” franchise fans, it’s not a good idea to ditch the guy who made Buzz Lightyear famous in all four previous “Toy Story” flicks.

That’s right. The filmmakers left actor Tim Allen out of the project, despite the fact that Allen’s voice is what madeBuzz buzz.

A lot of excuses have been given as to why Allen was cut out.

Claims were made that Allen’s voice was the film-version voice of a toy, and the voice of “Captain America” actor Chris Evans is the film-version voice of a supposed living, breathing, real-life Buzz.

However, plenty of folks sense that politics are at play. That’s because fans of Allen’s successful “Last Man Standing” sitcom remember all too well that Disney-owned ABC inexplicably canceled the show at a time when it was still popular with the public.

“Lightyear”’s Evans-for-Allen swap prompted a number of celebrities to take to social media and express their chagrin over the decision.

– “Everybody Loves Raymond” star Patricia Heaton used her Twitter account to post, “Disney/Pixar made a HUGE mistake in not casting my pal Tim Allen. Tim Allen in the role that he originated, the role that he owns. Tim IS Buzz! Why would they completely castrate this iconic, beloved character?”

– Tom Hanks, who voiced Buzz Lightyear’s sidekick Woody in previous films, entered the fray via a CinemaBlend interview that was posted on the publication’s Instagram account. The actor discussed how his film “Elvis” hit theaters at the same time as “Lightyear.”

“I actually wanted to go head-to-head with Tim Allen and then they didn’t let Tim Allen do it,” Hanks said. “I don’t understand that.”

Allen revealed that quite a while back he had been in on discussions about the “Lightyear” concept, but the new spin-off didn’t have the same filmmakers involved as the original.

“We talked about this many years ago,” Allen said, and he remarked at the time, “What a fun movie that would be.”

He explained, “But the brass that did the first four movies is not [the same one]… this is a whole new team that had nothing to do with the first movies.”

2) A big reason for “Lightyear”’s tepid response is the unmistakable woke-influence. Inserted in an animated movie for children is a same-sex kiss.

The scene has resulted in “Lightyear” being banned in many locales that have typically welcomed Disney films, including the countries of Malaysia and Saudi Arabia.

It seems as though Disney has been on a self-destructive course. There have been a series of decisions that have led the public to believe that the company wants to shed its family-friendly brand.

Guess we can just chalk it up to one more thing we thought we’d never see –Mickey’s smile turned upside down.

SNL Goes on the Attack against Elon Musk

“Saturday Night Live” isn’t what it used to be.

During the early years of the program’s run, SNL’s writers had a track record of presenting fresh and original comedic content with one of a kind characters and hilarious sketches.

Back in the day, the fundamental goal of the show was to make people laugh. But that was a time when TV’s content creators weren’t beholden to left-leaning media heads and myriad PC bosses.

Unfortunately, much like the news scripters at MSNBC, SNL’s comedy writers have become apparatchiks of leftist media autocrats.

The recent treatment of Elon Musk is a prime case in point.

Many view Elon as a modern-day Edison. He’s an entrepreneur extraordinaire and highly successful business magnate to boot.

His recent treatment by SNL is serving to underscore the fact that decision makers of the show have been bowing lower and lower to a media monarchy that in turn has been bowing to a shadow ruling class.

Less than one year ago, Elon took on the daunting challenge of being host for an SNL episode. He now finds himself in the show’s comedic crosshairs.

Why? He had the nerve to suggest that changes needed to be made to the Twitter business model.

After being offered a seat on the social media company’s board of directors, Elon turned down the company’s invite. He then made a premium price offer to purchase the entire company.

He was blunt in his own choice of words about Twitter’s approach to online posts. In an SEC filing, Elon wrote, “I invested in Twitter as I believe in its potential to be the platform for free speech around the globe, and I believe free speech is a societal imperative for a functioning democracy. However, since making my investment I now realize the company will neither thrive nor serve this societal imperative in its current form. Twitter needs to be transformed as a private company.”

The Tesla CEO offered to purchase the social media company for approximately $43 billion in cash. This scared the wits out of those who are in favor of the present status quo; i.e., the censorship of selective speech.

With an estimated net worth of around $273 billion, Elon right now is the richest man in the world. Despite the highly attractive offer that he made, Twitter’s board of directors summarily rejected it and went on to adopt a strategy known as a “poison pill,” which modifies corporate governance documents to prevent takeover bids.

His desire to promote open discourse also prompted a panic-filled response from mainstream media and social media figures alike. Things got so bad that many of the elites actually began boldly declaring their opposition to free speech itself.

Washington Post columnist Max Boot opined in a tweet, “For democracy to survive, we need more content moderation, not less.”

MSNBC’s Mika Brzezinski stated that the Musk acquisition of Twitter could set a “very dangerous precedent.”

Reactions from the far-left inspired Eli Lake to craft the following tongue-in-cheek tweet: “For most of my life I thought free speech was really good. But now that Elon Musk is trying to buy Twitter, I realize free speech is actually what Nazis like. The founding fathers started the revolution because King George wasn’t moderating enough content.”

SNL entered the whole fray by slamming Elon during the recent show’s cold open and its “Weekend Update” segment.

Mikey Day portrayed Musk during the opening.

“… I’m here to officially buy Easter. I’m offering 43 billion Peeps. That was a joke. Do you get it? That’s why afterwards I said ‘That was a joke,’ so you know it was a joke,” the Elon impersonator lamely quipped.

Day’s Musk character then asked if people were afraid he would “make Twitter bad,” adding, “What are you scared I’ll buy next? The Oscars?”

The writers then pulled out the big guns and went racial.

“Weekend Update” co-hosts Colin Jost and Michael Che did a spoof news sketch where they were discussing Elon’s offer. Che set up his punch line with a factual statement.

“Elon Musk offered to buy Twitter for over $40 billion so he can loosen its free speech rules,” Che said. Then he cracked, “That’s how badly white guys want to use the ‘N-word.’”

It deserves a second mention, not clever and not funny.

Jost followed up with a hack joke invoking the name of America’s Mayor.

“Honestly, I don’t understand why Elon even wants to own Twitter,” Jost said. “It used to be something that seemed important and even fun and now you look at it and it’s confusing and depressing. It’s the Giuliani of apps.”

It looks like Elon has just accomplished another amazing feat. He pulled the masks off the jokers.