Celebrities Show Love for W.H.O., Disrespect for U.S.

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Despite having temporarily sacrificed some of our freedom during the coronavirus lockdown, many Americans seem to have gained a newfound appreciation for our country.

The Hollywood left, on the other hand, doesn’t appear to have had the same experience.

To a whole lot of everyday people, much has been revealed through the pandemic that shocked us to the core, and many a lesson has been learned. One of the most important lessons gleaned is how incredibly dangerous it is to be dependent on a communist regime with regard to our critical supply chain.

Too many of our celebrities, though, continue to display an utter lack of awareness or understanding about the geopolitical realities of our times. This was recently driven home when many of the rich and famous lent their names and talents to the unworthy cause of raising funds for the World Health Organization (W.H.O.).

A virtual concert took place this past weekend, which was promoted as a “One World” event. It was designed to benefit the W.H.O., a global entity that is deeply enmeshed in controversy.

The concert’s marquee included A-list celebrities such as Taylor Swift, John Legend, Paul McCartney, The Rolling Stones, Beyonce, Oprah Winfrey, Jennifer Lopez, Elton John, and Lady Gaga.

Late-night comedians Stephen Colbert, Jimmy Fallon, and Jimmy Kimmel served as hosts. Other famous individuals who made appearances included Ellen DeGeneres, former First Ladies Laura Bush and Michelle Obama, and Bill and Melinda Gates, the couple whose foundation is the W.H.O.’s second biggest donor.

As a virtual concert, the event had artists and participants appearing from their homes; this allowed for the event to be broadcast across multiple television channels in the U.S. and around the globe. Funds in excess of $128 million were raised, according to a press release from the organizers.

The timing of the concert was more than unfortunate for our nation. President Donald Trump had just canceled funding for the W.H.O., due to credible allegations of influence exerted upon the group by the communist regime in China.

The president took the appropriate action for our country when he held back funds for the W.H.O., pending an investigation of the group’s alleged malfeasance in dealing with China’s mishandling and potential cover-up of the coronavirus breakout in Wuhan.

The W.H.O. has had a spate of bad press. The head of the organization, Tedros Adhanom Ghebreyesus, is a former official of Ethiopia’s Marxist Tigray People’s Liberation Front. In January and well into February of 2020, Tedros lavished unmerited praise on the Chinese government for its handling of the virus’s breakout and supposed sharing of information. While the W.H.O. leader commended China, he simultaneously criticized other nations for their responses to the coronavirus emergency.

Tedros had encouraged the nations of world not to limit travel to and from China and also delayed letting the world know that the virus was a public health emergency.

At a recent White House press conference in which he pledged to withdraw W.H.O. funding, President Trump stated the following: “The W.H.O.’s attack on travel restrictions put political correctness above life-saving measures.”

Interestingly, the “One World” virtual concert was organized by the W.H.O. along with another entity, the non-profit advocacy group Global Citizen.

The staging of a musical event with a theme that ran counter to the Trump administration’s policies was apparently something that Global Citizen had been involved with on a prior occasion, as recently as September of last year.

President Trump had just shared with the United Nations General Assembly the notion that “the future does not belong to the globalists. The future belongs to the patriots.” A mere four days later an event called the “Global Citizen Festival” was held in New York’s Central Park.

Entertainers that were featured included Queen (with Adam Lambert), Pharrell Williams, Alicia Keys, OneRepublic, Carole King, and Hugh Jackman, a celebrity lineup with comparable star power to the one that the W.H.O. featured at its fundraising concert. Tickets to the event were offered for free to “global citizens” who were willing to “take a series of actions to create lasting change around the world.”

Similar to the recent W.H.O. “One World” concert, the event brought together entertainment figures to appear with activists in order to promote a host of radical pseudo-utopian causes.

Our nation and the priceless freedoms it affords are what enable individuals to reach for the sky and, when hard work and destiny lock hands, achieve their dreams.

Perhaps as tragic as a virus that infects the body is a hatred that hardens the heart. There is no virtue in supporting the W.H.O., an organization that may have assisted China and betrayed the U.S. and possibly the whole world.

Liberal Rants Aren’t Silencing ‘Lion King’’s Box-office Roar

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Editors at the Washington Post recently made the inane decision to publish the radical ramblings of Dan Hassler-Forest, assistant professor in the Media Studies Department of Utrecht University, which is located in the Netherlands.

In an entertainment world that produces excessively violent, sexually aggressive, and politically correct product to the max, Hassler- Forest makes the nonsensical assertion that the plot line of Disney’s current iteration of “The Lion King” is a fable that is riddled with fascist ideology.

“The Lion King” is a photorealistic computer-animated remake of Disney’s conventionally animated 1994 film of the same name. The movie’s plot line revolves around a young lion named Simba, who struggles to accept his place as the rightful king of his nation after his father Mufasa is murdered by his uncle named Scar.

Because the story involves a monarchy in which lions comprise a ruling class, Hassler-Forest concludes that the film depicts “a society where the weak have learned to worship at the feet of the strong.” Hassler-Forest also contends that the movie “presents a seductive worldview in which absolute power goes unquestioned and the weak and the vulnerable are fundamentally inferior.”

Using Hassler-Forest’s argument as a basis, one would have to conclude that a vast majority of folk legends, fairy tales, and classic fables featuring kings, queens, princes, and princesses will eventually be forced to face the chopping block.

In addition to the Washington Post piece, the metropolitan media critic community is generally slamming “The Lion King,” giving it a dismal 55% rating on the Rotten Tomatoes aggregation website. Critics thumbing their respective noses at the movie include those from the Boston Globe, Wall Street Journal, Rolling Stone, and NPR.

Despite the Washington Post’s hit piece and the critics’ jabs at “The Lion King,” the public is giving it a whole lot of love, grading the film with an A rating on CinemaScore and additionally making it a record-breaking blockbuster at the box office.

“The Lion King” has taken the record for a July opening, with $185 million gross, an amount that not only outperforms pre-release forecasts but also bests the previous July record holder, “Harry Potter and the Deathly Hallows Part 2,” which took in more than $169 million. The movie is also the second largest debut of the year so far, trailing behind only one film, “Avengers: Endgame.” “The Lion King” reboot has additionally topped another Disney live-action remake, “Beauty and the Beast.”

The idea for the story on which “The Lion King” is based first arose during a conversation between senior executive Roy E. Disney (son of Disney co-founder Roy O. Disney), Dreamworks co-founder Jeffrey Katzenberg, and first president of Disney Animation Peter Schneider. (The conversation took place in the late 1980s on a plane to Europe to promote “Oliver & Company,” an early Disney animated musical film adaptation of Charles Dickens’s “Oliver Twist.”)

As “The Lion King” idea was being developed, Katzenberg added his own thematic material involving coming of age and death, and some ideas from his own personal life experiences. Katzenberg has stated that “The Lion King” “is a little bit about myself.”

Although he may be a died-in-the-wool liberal and has had his share of rotten political ideas, Katzenberg is no fascist.

The new live action reboot of the film seems to have been packaged so that it would escape the unfavorable judgments of left-wing gatekeepers. It features a predominantly African-American cast, with a story that takes place in Africa. The voices in the film include those of Donald Glover, Chiwetel Ejiofor, Alfre Woodard, John Kani, Beyoncé Knowles-Carter, and James Earl Jones, who reprises his role of Mufasa from the original film.

It is preposterous that these celebrities would become involved with a movie that had fascistic undertones. The same for Elton John, who along with Tim Rice wrote several evergreen tunes for the original animated version and have contributed a new song for the reboot titled “Never Too Late.”

Thankfully, moviegoers are not buying the whole fascist meme. They are, however, expressing their delight with Disney’s fanciful remake by buying tickets in droves.