Part 3
Hollywood - more woke than Weinstein
Rotten eggs have always existed in Hollywood, but the fact that someone like Weinstein could go on for decades and cough up sex says less about him than it does about the actresses' career desire and lack of female solidarity. We have a parallel case in Sweden with the "cultural profile" of Jean-Claude Arnault, whose progress could have been halted decades ago if the high-tailed feminist rhetoric on the cultural pages had been accompanied by only a fraction of so much practical feminist courage. All that is required for evil to prevail is, as Edmund Burke already stated in the 18th century, that the good do nothing.

More than being hunting grounds for sexual predators, Hollywood and the Oscars have recently been the scene of an identity-political wave of tsunami dimension. The casting process in Tinseltown is now a veritable quota hysteria based on skin color, gender, sexual orientation and functional variation that in many productions has turned into the directly ridiculous and that painfully weighs them down in the same way as clumsily implemented product placement.

It is not uncommon, with reference to this supposed virtue, to engage in history revisionism as well. I do not want to imply black actors Shakespeare roles but most Hollywood produces are not really at that level and there is no shortage of characters that can be shouldered by black actors without gross violence on historical authenticity or that you go to exaggeration and do number of skin tones and ethnicities represented on the white canvas at the expense of other cinematic qualities.

One-way history revisionism
In addition, this is also a black privilege. There will be an outcry if any white actor is allowed to portray a person who was in reality black. On the other hand, it is possible to make costume dramas where it is presented as if, for example, the 18th century aristocracy in the western world consisted of as many blacks as whites. No director, on the other hand, would in a similar way dare or be able to cast a shipload of transatlantic slaves with as many white as black actors with impunity.

The identity-political movement does not seem to realize that its falsification of history is undermining its own agenda. If you feed the church through Hollywood with a multicultural paradise image of times gone by, it becomes more difficult to simultaneously rhetorically convince the same church that these were horrible racist times.

Probably our perception of the time is at least as much influenced by what we see in cinema and TV as what we get to learn in history lessons at school. But like the scorpion that lifts over the water on the frog's back in the fable, the left can not escape its nature, can not refrain from stinging the conservatives by insisting on x number of Africans, y number of Asians and z number of Eskimos in a costume drama about the sun king Louis XIV French court.