Bill Maher, Stephen Colbert and the Death of Late-night Comedy

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With liberals targeting for destruction one cultural institution after another, it was inevitable that late-night comedy was going to have its turn.

Ironically, late-night comic hosts, many of whom were trailblazers in the laugh industry, have slowly but surely morphed into lemmings, substituting smug political claptrap for comedy.

Rather than entertain, the ones who are lucky enough to have actually made it into comedy’s top echelon are now catering to a flimsy fan base of enraged resisters and hate-driven hypocrites.

Bill Maher, host of HBO’s “Real Time,” is the latest example. He recently let it be known how bitter leftists view President Donald Trump’s economic track record.

Recognizing the phenomenal economy under President Trump’s leadership, Maher stated that he believes it is critical for the U.S. economy to collapse in order to rid the country of a president with whom he disagrees.

“I feel like the bottom has to fall out at some point, and by the way, I’m hoping for it because I think one way you get rid of Trump is a crashing economy,” Maher said. “So please, bring on the recession. Sorry if that hurts people but it’s either root for a recession, or you lose your democracy.”

The left is so steeped in hatred it is willing to let the best interests of the nation take a back seat to spite. And like far too many others in his industry, Maher is more than willing to see his neighbor harmed than to see President Trump succeed.

It is hard to fathom how late-night comedy allowed itself to descend to such a pitiful depth. Late-night television was created and branded by the pioneers of the medium – Jack Paar, Steve Allen, and of course the man who defined the forum, “The King of Late-Night” Johnny Carson.

Carson was the guy who dropped in unannounced but you never wanted him to leave. No matter what had transpired in the course of the day, he could make you forget in a single quip. He was simply a friend that taught you how to smile yourself to sleep.

The current crop of late-night hosts could benefit from the master in more ways than one. A single show of Carson’s could bring in as many as 9 million viewers. By comparison, CBS’s “Late Show,” hosted by Stephen Colbert, is currently the highest-rated late-night program, but a good night for Colbert is typically a third of the viewers that Carson had, in part because Colbert’s program generally consists of Trump trashing and partisan punches.

Viewers today admittedly have a lot more options when it comes to the late-night timeslot. In addition to broadcast networks’ offerings of Colbert, Jimmy Kimmel, and Jimmy Fallon, there are numerous cable offerings, which include TBS’s Conan O’Brien, Comedy Central’s Trevor Noah, HBO’s John Oliver, and BET’s Robin Thede, along with broadcast networks’ very late-nighters James Corden and Seth Meyers.

Late-night writers generally cater to viewers who use social media to watch highlight video footage from previous programs. Shows with late-night content that stream to viewers include Hulu’s Sarah Silverman and Netlix’s Joel McHale and Michelle Wolf, who is best known for her embarrassingly unfunny performance at the most recent White House Correspondents Dinner. Weekly late-nighters such as Comedy Central’s Jim Jeffries and TBS’s Samantha Bee are also part of the mix.

Virtually all of the shows specialize in targeting the president, and Bee is one of the hosts who clearly illustrates the lowlights of today’s pathetic programming. Referring to the daughter of the president in the crudest of ways, Bee incurred a deserved backlash, which prompted defections by a number of sponsors. Both Bee and TBS later apologized, but the comic was not fired or suspended. In another humorless incident, there was a young man who had attended the Conservative Political Action Conference and was bashed with a comment about “Nazi hair.” It turned out that the young man was actually suffering from Stage 4 brain cancer, and Bee was again forced to apologize.

It is painful to have to say that in this sorry state of late-night comedy, television’s most visible hosts have turned into boring political preachers and in the process have themselves become the joke.

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The Left’s Attempt to Silence Kanye West

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Author and conservative icon Andrew Breitbart had a phrase that rings true to this day: “Politics is downstream from culture.”

For decades now the left has maneuvered its way into dominating the pop culture as well as the cult of personality itself. Liberal political mantras have engulfed a once vibrant arena in which an exchange of ideas lived and breathed.

Far-left activists, who in many instances amassed their fortunes on fertile Left Coast soil, took to using their positions of prominence to force agenda-ridden content into every facet of the entertainment industry.

Kanye West, one of the most well known celebrities in the entertainment world, recently disrupted the info world order and did so by expressing to his millions of Twitter followers material that is contrary to current liberal doxology.

Kanye’s first tweet made social media heads explode.

I like the way Candace Owens thinks,” the rapper-entrepreneur posted.

Essentially Kanye endorsed Owens, who is a talented African-American woman who speaks out against victim-hood and, in her words, the “Democratic Party plantation.”

The media organs of the left reacted in predictable fashion, attempting to disparage, isolate, and destroy Kanye as well as any other notable individual who would dare traffic in liberal political “heresy.”

The pattern has become all too familiar as has been witnessed with various other celebrities, including Shania Twain, Roseanne, and Tim Allen. However, Kanye’s position in pop culture appears to pose a greater threat to the liberal powers that be, particularly because he is an African-American who is held in high esteem within his own community and an ever widening circle.

West has been known to frequently delve into matters deemed controversial, but in this case the media appear to have placed him on an exile list for having expressed views that differ from the mandated liberal slate.

A highly unusual number of Kanye-bashing headlines have arisen, including the following:

— “You Know You’ve F***ed Up When Donald Trump Thanks You” (Esquire)

— “How Red-Pill Culture Jumped the Fence and Got to Kanye West” (Wired)

— “The bizarre political evolution of Kanye West” (The Washington Post)

The Post was not done yet. It went on to viciously associate Kanye with the Alt-Right in a piece titled “Kanye West, alt-right darling.”

Throughout the Internet and social media, reactions by resistance trolls were filled with vulgar, profanity-laced tirades, including platforms such as Facebook, Twitter, YouTube and other left-of-center websites. Celebrities began to unfollow Kanye on Twitter, including Drake, Justin Bieber, BTS, The Weeknd, Rihanna, Ariana Grande, Harry Styles, Katy Perry, Nicki Minaj, and Kendrick Lamar.

Members of the Kardashian clan, Khloé and Kourtney Kardashian and Kylie Jenner, apparently also stopped following Kanye. Rosie O’Donnell and Samuel L. Jackson tweeted out highly negative reactions to Kanye’s posts.

John Legend and his wife Chrissy Teigen are no longer Kanye followers. The reflexively liberal Legend evidently texted Kanye to try and convince him to back off from his recent posts.

I hope you’ll reconsider aligning yourself with Trump,” the singer-songwriter wrote.

In a tweet of a screenshot of a text thread, Kanye made it a point to let Legend and the public know that he takes his pro-Trump expressions seriously. He texted that Legend was using “a tactic based on fear” to undermine Kanye’s political and cultural beliefs.

With a post that read “Black people don’t have to be democrats,” Chance The Rapper tweeted out what appeared to be support for Kanye. However, in a redux of the Shania Twain debacle, after being blasted on social media Chance backtracked and made statements that he is not a Trump supporter.

Despite all of the backlash, Kanye forged ahead with a stream of posts expressing his affection for the president, including a photo of his personal “Make America Great Again” cap, complete with an autograph by the current occupant of the Oval Office.

You don’t have to agree with Trump,” Kanye tweeted, “but the mob can’t make me not love him.”

He referred to President Trump as his “brother” and explained that they both possess “dragon energy.” He even doubled down on his pro-Trump expressions with the release of a new song “Ye vs. the People”

Because Kanye is such a seminal figure within the pop culture, his independent minded thoughts threaten the exclusivity of a territory that the left wing and the Democratic Party have always dominated.

The African-American vote is a significant part of left-of-center constituents. African-American voters typically choose Democrat candidates at a 90 percent level. If there is even a small drop in the African-American Democrat vote, the Party’s candidates are simply going to lose.

The Celebrities Behind the Anti-Gun March

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Lending support to the recent anti-Second Amendment march, which was misleadingly called the “March for Our Lives,” was a sizable roster of Hollywood elites.

The participating celebrities, who are routinely shielded 24/7 by their own armed security guards, were among those who were financing and supporting the nationwide protests.

The goal in mind was a singular one—to get other people to give up their God-given and constitutionally protected right to defend themselves and their families with firearms.

The Washington, D.C. protest, along with its so-called “sibling” events, was organized and funded with a considerable amount of help from Hollywood liberals and leftist organizations. Thousands of high school students were bussed to various locales via groups and individuals with links to the Democratic Party.

Despite its official noble sounding name, numerous media outlets, including BuzzfeedNews, reported that organizers were really pushing for full-on gun control legislation. It has also become increasingly clear that the march was specifically designed to gin up the voter registration rolls for the upcoming mid-term elections.

Democratic groups in Maryland, New Jersey, New York, Pennsylvania, and Virginia boosted the number of attendees by providing free transportation for participants to Washington, D.C. According to Bethesda Magazine, a Maryland Democratic House member hosted a pre-march rally and bussed supporters to the march. And the Washington Post reported that the Democrat mayor of Baltimore arranged for thousands of students to be driven to the march by bus. Democratic groups in New York, Virginia, and Pennsylvania also reportedly provided buses to participants.

As a further incentive for the younger demographic, organizers put together a free concert with an all-star billing, which included Miley Cyrus, Ariana Grande, Common, Demi Lovato, Jennifer Hudson, Lin-Manuel Miranda, Vic Mensa, and Ben Platt.

During the concert, performers proceeded to supplement their music with politically loaded protest visuals.

– Cyrus performed “The Climb” while holding a sign that read “Never Again.”

– Lovato concluded her performance with a raised fist and the words “MSD strong!”

– After Grande sang “Be Alright” she was joined on stage by some attendees who engaged in a group hug and selfie snaps.

– Hudson closed out the show in 1960s protest fashion with a version of Bob Dylan’s “The Times They Are A-Changin’.”

A number of entertainment figures provided money to the organizers of the event, including Oprah Winfrey, Steven Spielberg, John Legend, Chrissy Teigen, and George Clooney. Taylor Swift, who has made it a point to remain apolitical, indicated that she, too, had donated to the march.

Clooney and Spielberg took to the streets to join the protesters. Other celebrities who made their presence at the march known included Kim Kardashian, Kanye West, Jimmy Fallon, Dennis Rodman, and Julianne Moore.

Paul McCartney joined in a march in New York and Amy Schumer spoke at a rally in Los Angeles.

Celebrities who used social media to digitally participate included Dwayne “The Rock” Johnson, Justin Bieber, Alyssa Milano, Michael Moore, and Debra Messing.

It is apparent that organizers of the march harbor ambition that extends far beyond the initial event. Plans are in the making to lobby lawmakers to achieve desired ends. The finance vehicle for the protest, “The March for Our Lives Action Fund,” is a 501(c)(4) nonprofit organization, which, according to records, was registered on March 8, 2018.

The majority of non-profit groups are registered as 501(c)(3) charitable organizations; this allows donors to receive a charitable tax deduction for their gifts.

However, 501(c)(4) organizations are formed in order to conduct lobbying and legislative advocacy. The choice of this nonprofit vehicle means that donors actually lose tax deductibility for their donations.

On the group’s website, “The March for Our Lives Action Fund” has telegraphed its intent to pursue lobbying, indicating that funds will be used “to fight for comprehensive gun safety legislation at the local, state, and federal level.”

The website also offers a “March for Our Lives voter registration toolkit,” which appears to be a blatant effort to boost Democratic candidates at the polls.

Oprah’s New Age “Wrinkle”

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Hollywood recently managed to take a classic fantasy novel and strip away its soul.

Author Madeleine L’Engle’s “A Wrinkle in Time,” a book published in 1962, is clearly written from a Christian perspective and eloquently communicates the author’s biblical worldview.

Ava DuVernay is the director of a current film adaptation of L’Engle’s work. Unfortunately, it is likely that the author would scarcely recognize her own story as a result of Hollywood’s reverse Midas touch that materializes in the form of New Age mysticism.

The screen version of the literary tale is simply a heavy-handed piece of contemporary cinematic propaganda with an apparent purpose of spreading a superficial New Age theology and one-dimensional feminist ideology.

Winfrey stars as a deity of sorts and appears to use the Disney movie, which is clearly designed to appeal to a younger audience, to preach a form of pagan self-worship.

In an apparent quest for praise from the politically correct crowd in the entertainment industry and film critic community, the big-screen version of “A Wrinkle in Time” places front and center the primary tenet of liberal theology, that being a highly redacted notion of diversity.

Both the original book and the current film adaptation utilize a basic plotline of a teenage girl, Meg, who along with a male friend and Meg’s little brother, embark on an intergalactic multi-dimensional search to find Meg’s longtime missing scientist father.

Mrs. Which (played by Winfrey), Mrs. Whatsit (played by Reese Witherspoon), and Mrs. Who (played by Mindy Kaling) are three mystery women with supernatural powers who magically appear in Meg’s life. The trio facilitates Meg’s access to a space-time transportation medium called a tesser, which allows an Oz-like journey to be set in motion.

In L’Engle’s original work, the three women are described as ancient star-beings, who function as guardian angels. However, in the current film adaptation they are depicted as characters similar to that of Glenda in “The Wizard of Oz,” conveying the concept that the three basically comprise a group of good witches.

As is representative of the modern payback currency of Hollywood’s brand of superficial thought, the male characters in the movie are either evil or inept.

Meg demonstrates that she is much more capable than her male counterparts in the tale. The supernatural character of male gender seems to be included for the sole purpose of bringing the element of humor to the scenes in which he appears. Known as Happy Medium (played by Zach Galifianakis) he is somewhat ambiguous in nature and wholly non-toxic in his masculinity.

At the conclusion of the movie, Meg is able to complete the story arc by securing the attendant treasured liberal value of self-esteem, and she does so by embracing the New Age and feminist ideology of the real-life Winfrey.

What is cinematically and artistically tragic is that L’Engle, much like the style of the beloved Christian literary icon C. S. Lewis, wrote her fantasy work through the lens of an explicit Christian worldview. She was an official writer-in-residence at a cathedral, and she possessed the kind of love and reverence for the Bible that so many in the film-going audience share.

L’Engle even sprinkled across the pages of her fantasy novel numerous scriptural passages from both the Old and New Testaments. But the makers of the movie somehow saw fit to surgically remove L’Engle’s quotations from the Good Book and her mention of the name Jesus, as well as any notion of the Judeo-Christian God contained in her novel.

Instead the film added “the universe” as an object of worship and did so in the prototypical New Age manner that for decades Winfrey has fostered and promulgated.

In the film, Winfrey’s character poses the following question: “What if the universe is all inside each of us?”

In order to move magically throughout time and space to the various exotic destinations embedded in the story’s plotline, one must, according to Winfrey’s character, “…become one with the universe and yourself.”

In an apparent effort to give the impression the film is in touch with current personalities, the movie adds references that are not in the book, including the names of Nelson Mandela, Oskar Schindler, Indira Gandhi, and Maya Angelou, as well as a nod to a hip hop play with the inclusion of a line from the Broadway show “Hamilton.”

With the biblical principles stripped away, “A Wrinkle in Time” is essentially a naked attempt at New Age propaganda. It is a fable cloaked in the moth-eaten fabric of cunning deception and hollow self-worship.

Huckabee Withdraws from the Board after Haters Intimidate the CMA

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Left-wing hatred, in of all places Nashville, has just politicized a country music institution.

Rather than learn a lesson from the NFL and Hollywood, a small but highly vocal group of people in Music City has managed to pressure the Country Music Association (CMA) into having former Arkansas governor Mike Huckabee withdraw as a board member from the group’s educational arm, the CMA Foundation. Last week the CMA announced two new members of the board of this charitable foundation, Huckabee and singer Chris Young.

Following the announcement, the CMA was the recipient of a hate-filled backlash over its choice of Huckabee because of the former governor’s political and religious views and solid support of President Donald Trump, as well as the fact that he is the proud father of President Trump’s current press secretary Sarah Huckabee Sanders.

Despite the fact that Huckabee’s appointment to the board was completely separate and apart from his political activity and cultural views, some in the industry for which Nashville is best known targeted their personal animus directly at the former governor.

The most vicious public statement came from country music manager Jason Owen, who happens to own Sandbox, a management company that represents Faith Hill, Little Big Town, and Kacey Musgraves, and co-owns, along with songwriter-producer Shane McAnally, the record label Monument Records. McAnally has written and produced songs for Musgraves, Kelly Clarkson, Kenny Chesney, Luke Bryan, The Band Perry, Lady Antebellum, Keith Urban, Dierks Bentley, and Miranda Lambert.

Owen labeled Huckabee’s appointment “grossly offensive” and “a shameful choice” by the CMA and its leaders. The music industry manager withdrew the support of Sandbox and Monument, declaring that the artists he handles would not work on behalf of the CMA Foundation.

Owen also intimated that he would pull his support and artists away from the entire CMA over Huckabee’s appointment, specifically focusing on the former presidential candidate’s views on marriage and his support of the NRA.

Since Karen Fairchild, who sits on the foundation board, is also one of the group members of Little Big Town, a client of Owen’s, the CMA leadership feared that Fairchild would resign from the board.

Being the consummate professional and gentleman that he is, Huckabee resigned a mere 24 hours after the announcement of his appointment in order to save the organization from having to deal with any potential turmoil.

Huckabee’s departure occurred a few hours after Owen published his screed on an industry website.

Huckabee provided an explanation for why he had decided to resign, and he did it in the form of a posting on his website, which read as follows: “I genuinely regret that some in the industry were so outraged by my appointment that they bullied the CMA and the Foundation with economic threats and vowed to withhold support for the programs for students if I remained.”

Huckabee, an ordained Southern Baptist minister, has impeccable credentials as a public servant, and his involvement in charitable endeavors is highly commendable. As a former presidential candidate, Huckabee won the 2008 Iowa Republican caucuses and finished in delegate count just behind John McCain and Mitt Romney. He additionally has to his credit the accomplishment of having hosted a successful television talk show on the Fox News Channel and currently hosts a television show on TBN.

Huckabee has been an avid musician since he was 11 years old. He is an accomplished bass guitar player and made his playing of the bass guitar a trademark practice on both his Fox News Channel show and on his current TBN show.

When he served as the governor of Arkansas, Huckabee developed a reputation as an effective leader in the area of education policy, and he is recognized as an expert in helping to integrate the arts into the school curriculum.

The small but vociferous group that derailed Huckabee’s appointment to the board of the CMA Foundation has ended up depriving the organization of having a highly qualified member serve with distinction. Since music education is so central to the CMA Foundation mission, losing an individual of Huckabee’s caliber, someone who would have made germane and invaluable contributions to the CMA board’s primary objectives, is an outrage.

Through their actions and rhetoric, certain hate-filled individuals have provided the ugliest of illustrations of exactly what discrimination looks like.

It is difficult to fathom that the country music capital of the world is lacking in individuals who are willing to speak out on behalf of an individual whose faith parallels that of country music legends Johnny Cash, Glen Campbell, Reba McEntire, Randy Travis, Josh Turner, and so many others.

“The message here is ‘Hate Wins,’” Huckabee wrote on his web site. “Bullies succeeded in making it untenable to have ‘someone like me’ involved. I would imagine however that many of the people who buy tickets and music are not that ‘unlike me.’”

The truth of the matter is Huckabee’s religious, political, and cultural views are shared by an enormous segment of the American population, many of whom were, up until now, country music consumers.

When these folks find out about the manner in which Huckabee has been treated, they just might adjust their music playlists as well as their buying habits, which may bode poorly for some contemporary country music artists and products.

Uma Thurman Tells Her Quentin Tarantino Story

Film director Quentin Tarantino has come under fire in the wake of Uma Thurman’s recent revelations to the New York Times that she was treated abysmally on the set of her star vehicle, “Kill Bill.”

Ever since the predatory behavior of disgraced movie mogul Harvey Weinstein went public, Thurman has been haunted by her own arduous encounters with Weinstein. In the Times article, though, Thurman emotionally recounts the painful injuries she suffered due to an on-set accident that she claims was covered up by Weinstein and others associated with the movie. The actress also reveals that she was spit on and choked by Tarantino during the filming.

According to Thurman, she was “dehumanized to the point of death” during the movie shoot. She now indicates that Tarantino pressured her into doing a car stunt while the final days of filming were in progress.

Thurman claims that she initially objected to participating in the scene after being told that the car, which had been converted from a stick shift to an automatic, might not be safe.

“I was scared,” she said. “The seat wasn’t screwed down properly. It was a sand road and it was not a straight road.”

After the car crash, Thurman came back from a visit to the hospital wearing a neck brace. She had a concussion, a neck injury, and her knees were severely injured. She still deals with physical problems from the accident.

Keith Adams, the stunt coordinator who worked on the “Kill Bill“ films, is now speaking out concerning Uma’s allegations, and it may be causing Tarantino to feel more than a bit uncomfortable with what is being said. In an email sent to The Hollywood Reporter, Adams recalled the day that Thurman suffered the accident and remembered that he and all of his stunt staffers were kept away from the set.

“No stunts of any kind were scheduled for the day of Ms. Thurman’s accident. All of the stunt department was put on hold and no one from the stunt department was called to set,” Adams noted.

“At no point was I notified or consulted about Ms. Thurman driving a car on camera that day,” Adams added. “Had I been involved I would have insisted not only on putting a professional driver behind the wheel but also insuring that the car itself was road worthy and safe.”

Adams remarks have served to bolster Thurman’s allegations. In her Times interview, the actress had described the 1973 Volkswagen Karmann Ghia convertible used in the scene as a “deathbox” and additionally claimed that “the seat wasn’t screwed down properly.”

Tarantino, in an apologetic interview with Deadline, characterized Thurman’s car accident as “one of the biggest regrets” of his life. The director admitted that he had engaged in both the choking and the spitting but claimed that the actress had given her consent. The film director also maintained that no one involved in the production had “ever considered it a stunt” but rather viewed it as “just driving.”

Older vehicles that are used for stunt driving during movie productions are frequently inadequately maintained. In watching the video of the crash, which is posted on Thurman’s Instragram account, it can easily be seen that the vehicle is lacking head restraints, shoulder belts, and roll bars.

The actors and broadcast union, SAG-AFTRA, indicated in a statement that the scene in question “sounds like a stunt and would be a likely safety violation.”

Clearly, the footage one sees in the video, depicting an old convertible traveling down a curved sandy road at 40 mph, is the kind of scene that should have been handled by a professional stunt person under the supervision of a stunt coordinator following proper safety procedures, thereby avoiding the exposure of undue risk to a lead actress.

Tarantino has admitted that the road Thurman drove upon while shooting the scene ended up taking a “little S-curve” for which Thurman had not been prepared.

“The circumstances of this event were negligent to the point of criminality,” Thurman stated on her Instagram account. “I do not believe though with malicious intent.”

However, the actress called the cover-up after the fact “unforgivable.” The spitting and choking episodes add to the cumulative impression that Tarantino took advantage of his leverage as a director.

Unfortunately, the director has partnered with Weinstein throughout his career. It is common knowledge in the entertainment community that anyone who worked closely with Weinstein on multiple projects, as Tarantino did, would have been well aware of Weinstein’s predatory proclivities.

Tarantino acknowledged he feels ashamed that he did not take a stronger stand and cut his ties to Weinstein.

“I knew enough to do more than I did,” the director said.

Oscars with an Agenda

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Over time the entertainment industry and its accompanying award shows seem to have grown ever more political, and the 90th Academy Awards ceremony looks as if it will prove to be consistent with the left-leaning trend.

The Oscars event is ostensibly designed to provide recognition to the highest achievement of motion picture artistry and has conventionally been viewed as the pinnacle of award shows. This year, however, Hollywood has a number of attendant things on its collective mind, including having to atone for a host of industry wide offenses.

Nominations for Best Picture are illustrative of the ideological and cultural issues that are stoking Academy voters’ choices. A few years back the industry was assailed by critics, via a social media hashtag, with an accusation that the Academy lacked diversity in its list of nominees.

This year’s awards season has been under assault by another hashtag, which includes references to the sexual impropriety scandals that have shaken the entertainment capital to its core.

Typically during the awards season, movie studios engage in the equivalent of a political campaign complete with press releases, advertising, and opposition research.

Ironically, Harvey Weinstein, the movie mogul accused of sexual misconduct by scores of women, was consistently a seminal figure of the pre-Oscar season and was frequently able to assist his companies in securing Oscar wins. In the aftermath of the serious charges, though, he was fired from the Weinstein Company, booted out of the Academy, and banished from the film business.

In the past, he was also reportedly alleged to have engaged in opposition research in order to diminish the prospects of the film “A Beautiful Mind,” which was competing at the time with the Miramax movie “In the Bedroom.” He purportedly leaked rumors to the press that central subject of the film John Nash was anti-Semitic.

Movie companies routinely use film advertisements that are tagged with the phrase “for your consideration,” seek press coverage, send voters direct mailers, set up star appearances at key industry events, hold lavish parties, and arrange screenings for voters through use of studio lot theaters, distribution of DVDs and downloads of respective films.

For months the campaigning for the 2018 Academy Awards has been in full motion, but the activity has primarily taken the form of studios and production companies touting the current political and cultural significance of their movies.

Best picture nominee, “Three Billboards Outside Ebbing, Missouri,” is a case in point. After the film debuted at the Venice International Film Festival and won the top prize at the Toronto International Film Festival, the film critic community anointed the movie as a favorite in the award races.

The plot centers around perceived liberal concerns embodied in the hashtag haze that hangs over Hollywood. It may be that Oscar trophies were on the minds of filmmakers who put together a story of a mother railing against a sexist, racist, and patriarchal police force.

Some critics were less than enthusiastic about the seemingly superficiality of the politically correct plotlines of the movie.

Ira Madison III of The Daily Beast characterized the movie as “tone-deaf,” “manipulative,” and “altogether offensive.”

And Wesley Morris of The New York Times referenced the “Three Billboards” filmmakers’ Oscar pandering in the following manner: “The issues of the day come and go: brutal police, sexual predators, targeted advertising. It’s like a set of postcards from a Martian lured to America by a cable news ticker and by rumors of how easily flattered and provoked we are.”

Meanwhile another Best Picture nominee, “The Shape of Water,” which could also take the award, is a highly original movie concept but its creators apparently could not avoid shoehorning into the plot societal issues that may be on the minds of many Oscar voters. It is no coincidence that the female protagonist, Best Actress nominee Sally Hawkins, who has fallen in love with an underwater being, is provided assistance with her romantic goals by an African-American co-worker and gay neighbor.

Other Best Picture nominees sport themes that seek to attract Oscar voters. “Get Out,” a horror genre film from Jordan Peele, contains subject matter that depicts racism and cultural appropriation, while Steven Spielberg’s Pentagon Papers movie, “The Post,” glorifies the press for standing up to attacks and features a noble and powerful female business head.

The fact that the substance of would-be Oscar winning films is so culturally and politically correct is an indication that the 90th Academy Awards show, which is slated for March 4, will no doubt be saturated with a kind of sermonizing that is likely to have Americans briskly switching channels.