This is an incredible New York Times story about Hollywood censorship. Meg Smker has made a documentary about four Islamist jihadists who are being deprogrammed in a Saudi rehabilitation center. Sundance accepted it. Some who watched the film said it was cool, but some right-wing voices might denounce it for humanizing jihadists. But this is not what happened:
Arab and Muslim filmmakers and their white supporters accused Ms. Sumker of Islamophobia and American propaganda. Some suggested that her race was ineligible, a white woman who assumed she was telling the story of Arab men.
Sundance leaders reversed themselves and apologized.
Abigail Disney, Walt Disney’s granddaughter, was the CEO of “Jihad Rehab” and described her as “absolutely adorable” in an email to Ms. Smcker. Now she has disavowed him.
Disney wrote in a newspaper open letter.
Mrs. Sumker’s film has become almost unattainable and unable to reach audiences. Notable festivals have canceled invitations, and critics in the world of documentaries have taken to social media and put pressure on investors, advisors, and even her friends to withdraw names from the credits. She is about to be broken.
What a gutless crapweasel Abigail Disney. She loved the movie until her adorable left-wing friends hated it. She is a huge figure in the world of documentary filmmaking, so this change in her face is of great significance.
Among the film’s defenders is Lauren Ali, a Muslim and critic for the Los Angeles Times:
Lauren Ali is a Muslim television critic for the Los Angeles Times. Wrote That the film was “a human journey through a complex emotional process of self-accountability, and a look at the devastating ramifications of flawed US and Saudi policy.”
She is upset with Sundance.
“In the world of independent films, there is a lot of using identity politics as a weapon,” Ms. Ali said in an interview. “The film made an effort to understand the culture these men came from and shaped. Getting rid of a movie that many people have to watch is detrimental.”
According to The Times, left-wing Muslim critics and their white allies are demanding that the film tell a political story that blames Western oppression for turning them into jihadists. These people are against art, against telling the truth. Continue reading:
“When I say, as a practicing Muslim woman, that this movie is a problem,” Wrote Jude Chehab, Lebanese-American documentary, “My voice must be stronger than a white woman saying it’s not. Point blank.”
Ms. Disney, the former hero, wrote, “I have failed, failed, and failed utterly to understand how exhausting and disgusting the permanent representation of Muslim men and women as terrorists, ex-terrorists or potential terrorists is for the Muslim people.”
Her apology and Sundance’s apology shook the industry. The South, Southwest and San Francisco festivals have canceled invitations.
Jihad Turk, the former imam of Los Angeles’ largest mosque, was puzzled. In December, his friend Tim Disney – Abigail’s brother – invited him to a screening of the film.
He said, “My first instinct was ‘Oh, not another movie about jihad and Islam.’ Then I watched it and it was introspective and intelligent. I hope there is a brave outlet that is not intimidated by activists and their very narrow viewpoints.”
This is infuriating. Who the hell do these people think that their racial background gives them the right to tell artists what stories they can and can’t tell, and how should they tell them? I know this is a silly question in 2022, but we can’t stop asking it. Think of all the good movies that will never be made because cowards like Abigail Disney are left censored.
And also think about who these political directors are making films for: the kind of narrow audience that wants to see Islamic terrorists as sympathetic characters, the victims of Mighty White. Think about the kind of hardened, narrow minds who only want to watch movies that reinforce their point of view, and who just don’t want to see anything that challenges that point of view, But you don’t want anyone else to see this kind of movie either.
We are dealing with something similar, but much less important, in Baton Rouge. A black college student at LSU is angry over some 1930s-era murals in one of the academic buildings on campus. “RACISSSSSSST!” Says. More from Baton Rouge Advocate:
Her request that LSU remove murals from the walls of Allen Hall is not new, but compared to those who have asked questions before, Alexia Kimble Reaches a much wider audience When I asked the university to remove the paintings showing blacks working in the agricultural fields while whites worked in more comfortable places.
Highlighted murals On TikTok this monthIt attracted nearly half a million views and more than 90,000 likes.
She said, “I wanted to capture the emotion and capture the essence of what it’s like to be a black student at[a predominantly white institution]. Not every black student can get into HBCU, and they don’t want to, but they deserve a place here. They should be accepted here, they shouldn’t be judged.” And always remind them that they don’t belong here.”
Ummm what? How can agricultural life be depicted with historical accuracy in an earlier era in Louisiana’s history? A telegram to a black female student in 2022 as “not belonging” to the university? And guess what: the murals don’t depict slavery. They depict agricultural life in Louisiana in the 1930s. But these details do not bother Miss Thin Skin:
Those who show clear differences between blacks and whites still remain. For example, blacks are depicted working on sugar cane and cotton; White people appear in science venues.
“Walking around on campus and owning it was one of the first things I saw on entering my class, it really surprised me,” Kimble said.
Want to have black scholars in Louisiana at that time? Well, that could have been a cool thing, but they just weren’t here. Do you think farm work is somewhat degrading? Who on earth would get hurt by this, except for someone who is tied down and bent on offending? It’s a great thing that we’ve made so much social progress in the last century since the murals were painted that there are now black scholars in this case – and blacks do all kinds of work. But it wasn’t like that in the 1930s. Alexia Kimball wants to clone history.
What tells us the story is that no one is willing to defend the frescoes on the record. They know how it goes in our culture: you talk about that work of art, you’ll be condemned as a racist, and who knows what doors might be close to you? If the reporter challenged Kimble to defend her views, it wouldn’t really show up in the article. It reads like a story written by a reporter who thinks the black student’s criticism of this mural needs no defense. To be fair, if he tried but couldn’t get anyone to defend the murals on the record, it’s not his fault. But based on the evidence of what has been presented, it doesn’t appear to have challenged Kimble.
Take a look at this video that LSU produced nine years ago, featuring an art restorer based in Florence, talking about the history of these frescoes, and the care that went into creating them:
However, Alexia Kimball seems to know nothing about this date. She simply looks at the frescoes, decides to offend them, and now leads a campaign to destroy them. This is barbarism: the foolish destruction of things you cannot understand, or refuse to understand, because you can.
If you are Look at her page on TikTokYou see, Alexia Kimble has a rich inner life. She is morbidly obese and loves to photograph herself lip-syncing. For example:
We are not dealing here with Stokely Carmichael.
In this screenshot From one of her TikTok videos about muralsWe know that this young scholar did not bother to discover that the erotic frescoes do not depict slaves. Seriously: She’s trying to get the university to destroy a work of art she didn’t even bother understanding:
She told Baton Rouge TV:
Get weekly emails in your inbox
“I just want to let every black person know that they go to LSU or any PWI, you have every right to be here, and you have every right to make this place comfortable for you,” Kimble said.
Of course you have every right to be there, but you don’t have every right to bully people for accommodating all of your desires, calling them racists if they don’t. There don’t seem to be plans by LSU to heed the demands of this whiny kid, which is a good thing. But when institutions do, they teach young people that the way to get what they want in the world is to endlessly complain about the little things, and expect those in power to give them what they want.
It frustrated me in part because I looked at those murals every day I went to class at Allen Hall in the ’80s. It never occurred to me that they portray anything offensive to blacks, or make whites look particularly good. I thought it was, in fact, it: old WPA-style murals illustrating what life was like in Louisiana at that time. they are beautiful. But the leftists will not allow us to have nice things. They ask us to breathe history. Whether it’s student activists like Alexia Kimble, or billionaire movie executives like Abigail Disney, these people hate history, hate art, and hate free thought. Of course, the irresponsible local media – the lawyer’s reporter, the TV station – simply dismiss Kimball’s claims as if they had merit.