Hollywood’s March Towards Globalism
What is Globalism? It’s a resetting of the economy back to what it was pre-capitalism but under the guise of what’s now being sneakily referred to as “late-stage capitalism.” It’s called “globalism” because the entire system is based on the opening up of overseas markets at the expense of the native population, so that a few oligarchs control everything in the world regardless of national borders.
For example, if the Acme Corporation of Wile E. Coyote infamy was approached by a rich Arab investor to buy it out, it would be Globalist if Acme decided, as part of the buyout deal, to fire all of its American staff, hire remote workers from the U.A.E. in place of American workers and outsource customer service to India.
Another example of Globalism: American, Chinese and Russian One Percenters setting their sights on parts of Canada to be used as their personal tax shelters and money laundering schemes, and in so doing, buying out billions of dollars’ worth of working-class homes at the expense of Canadians there.
How did this all start? Globalism was kicked off in the 1970s when self-ascribed “free market capitalists” (I call them free-for-all capitalists) used the Cold War as an excuse to outsource labor and invite foreign investors to start buying out American properties and companies. The idea was that by making foreign investors and labor a partner of American business, we would “convert” Communist or borderline-Communist countries to Capitalism and Western values. However, it was all a shell game, and what wound up happening is that oligarchs started exploiting labor and undercutting domestic businesses by way of outsourcing and offshoring.
In the US, this outsourcing and offshoring of jobs has become synonymous with the death of the automobile and manufacturing sector in the 1980s and 1990s. But what Americans also don’t realize is that starting in the 1990s, Hollywood also went Globalist.
GenXers hoping to break out into the animation industry were the first to see this in plain sight. In the 1980s and 1990s, many aspiring cartoonists and animators flocked to Cal Arts and other esteemed art institutions to learn the art of animation and cartooning when the industry was at its absolute peak. Just when things couldn’t have been more promising, bit by bit animation studios began outsourcing to Canada and South Korea, the most famous example being The Simpsons.
Not too soon after, musicians got fucked over, when more Hollywood studios decided to save money by outsourcing musical scoring. Now classically-trained American musicians, who’d spent so many years learning at hallowed musical institutions like The Juilliard School, were completely sidelined and abandoned by foreign national musicians who could do the same at a fraction of the cost.
In a further twist of the knife, Hollywood–after being incentivized to keep jobs stateside with massive tax breaks–took the money and ran. Los Angeles bled as Hollywood production fled–sometimes to other states but over time, to Canada and other locations. More and more English-speaking foreign nationals from Canada, Australia and other countries began getting handpicked over Americans to play American characters on American TV shows and movies set in America, with the excuse that either Americans asked for too much money or that there wasn’t enough domestic talent to fill them. To add insult to injury, even the part time American actor who was more than happy getting by as a background extra or doing walk-ons and bit parts got the shaft when studios started shooting overseas.
By the mid-2010s, Chinese backers were bankrolling major American productions, and being given so much clout that American movies were forced to censor scenes based on the whims of China or risk the ire of investors. The amount of power given to China was such that even The Atlantic raised the red flag in its article, How Hollywood Sold Out to China:
The Atlantic’s article, How Hollywood Sold Out to China
Things have only gone from bad to worse in the 2020s. Enter the waves of foreign nationals tapped to either star in or direct movies steeped in American folklore and history as Hollywood has decided to abandon its American moviegoing public in favor of the directors’ respective markets. No need to get actual Americans to play iconic historic figures like Harriet Tubman, Abraham Lincoln, Marilyn Monroe and so many others anymore–just get Brits, New Zealanders, Australians, Africans and anyone else who can pass as Americans.
In all of the years that this treacherous bullshit has been unfolding, I know in my heart of hearts how Hollywood moguls and long-established movie actors have justified selling out American actors, directors, screenwriters, animators, gaffers and everyone in between in favor of foreign markets. Just like the cigar-chomping 1980s CEOs and fat cats of the automobile industry who wiped a tear imagining that he was helping to “spread capitalism” by selling out American labor and manufacturing to Red China, Hollywood’s Globalists most likely deluded themselves that it was all good for similar reasons. In their minds, by creating a symbiotic relationship between Hollywood and foreign national directors, actors and bankrollers, we were exporting all that was best about American culture, including our multiculturalism, our feminism, our everything.
Instead, what happened is that this symbiosis invited the racist and misogynistic cultural baggage of the markets Globalist Hollywood foolishly decided were worth sacrificing the American market for. For example, casting the British John Boyega in Star Wars: A Force Awakens may have puzzled American fans wondering why an African-American actor wasn’t picked, but it triggered white nationalists in the UK who hate British blacks of Nigerian descent, who then wasted no time flooding social media and the IMDB forums with vile racist memes. Ditto all the other times when the Globalists of Hollywood foolishly tried hard-selling American IPs to overseas markets not used to seeing strong female protagonists, Asians or multiracial casting.
The evidence is there in plain sight–the British-Greek Milo Yiannopolous, so triggered at the site of Leslie Jones, kicking up a lynch mob on Twitter. The oh, so many British and Canadian ringleaders on social media and YouTube weaponizing beloved American IPs such as Star Wars and Star Trek with shrieks of “woke”, “forced feminism” and “forced diversity” and warnings to white American males that these were signs that Hollywood was committing “white genocide.”
More evidence that foreign nationals have been behind these review bombs and hate-filled backlashes are the “born yesterday” nature of their hate and rage, or what I call Born Yesterday-itis. It’s always the same bullshit–reviewers claiming to be “longtime fans” for decades raging that they’re quitting an IP for becoming the very thing in 2020, 2021 and 2022 that it always was to begin with. According to them, an IP has suddenly gone “woke” for having black characters when it always had black characters; an IP has suddenly gone “Mary Sue” for having a prominent female character when it always had prominent female characters.
For example, so-called “fandom” backlashes will claim to have loved Star Wars and Star Trek since the very beginning, but then will also rant and rave that they’re abandoning these franchises because they now have strong female protagonists, multiracial casting, interracial relationships, gay relationships and Asians, when…wait for it…these IPs have always had strong female protagonists, multiracial casting, interracial relationships, gay relationships and Asians.
Another perfect example of Born Yesterday-itis–Teela from He-Man: Masters of the Universe always being a prominent figure in the series, to where she was even given an origin story. But somehow, “longtime fans” of He-Man going back to the 1980s were supposedly oh, so shocked and outraged about her presence in Kevin Smith’s reboot, even going so far as to argue that she was “shoe-horned” into the series to appease “woke feminists” and “soyboys.”
On top of Born Yesterday-itis, the most damning evidence of foreign national chicanery is what happens when movie review sites, due to the onslaught of review bombing, trolling and fake reviews, are forced to shut reviews down for a particular IP. Invariably, the review bombers always run screaming to other customer review sites to register their outrage at being “censored” by “wokesters”, “libs” and “the PC Police.”
Yes, it’s true that you will come across the occasional American neckbeard whining at places like Reddit, Ars Technica and other neckbeard stomping grounds trotting out the typical Civil Libertarian bullshit about “George Orwell” and “1984.” But more than half of the outrage expressed about not being able to post anymore at, say, Amazon, Rotten Tomatoes or other customer review sites trying to put a stop gag on racist and misogynistic review bombing will be from foreign nationals. Not surprisingly, the rage will be peppered with rants of “wokeness”, “PC Police,” etc.
Below, is what happened when Amazon decided to delete reviews for Powers of the Ring. Predictably, the trolls flocked to Trust Pilot to register their rage at having been “censored”. Looking over their places of origin (labeled with a location badge), 90% of the ranting and raving are from foreign nationals from the UK, New Zealand, with all the culture warrior troll catchphrases we all know and love–“wokeness”, “PC”, “forced diversity”, etc. Even if the badges weren’t in plain sight, it would be obvious that non-Americans are posting, based on British expressions and odd syntax. For example–
From the UK (Great Britain):
From New Zealand:
It gets better. As an American poster, I tried posting a review at Trust Pilot complaining about how Amazon continues to allow rampant review bombing and troll farming at the IMDB. In spite of not violating the TOS whatsoever, my review was rejected. Trust Pilot–a Danish-owned site–decided that my review didn’t adhere to community standards, while the scores of Europeans posting one-star reviews against the IMDB for promoting “wokeness” and “diversity” were allowed to stand. As Alice from Wonderland said, “Curiouser and curiouser!”