As part of our Christmas program here at TOO we highlighted Bad Santa, a film by the Weinstein brothers. The Catholic League has a number of posts on another Weinstein film, Philomena, which is currently in release. This brief comment notes several other anti-Christian movies by the Weinsteins:
[An ad for Philomena in the New York Times] gives high profile to a review by the Times’ Stephen Holden, which says, in part, that the film’s “political subtext” is its “comparison of the church’s oppression and punishment of unmarried sex…with homophobia and the United States government’s reluctance to deal with the AIDS crisis in the 1980s.”
This is a straightforward pitch to anti-Catholic bigots. The Weinsteins are no strangers to Catholic bashing, having made a good living off of it. In 1995, they offered “Priest,” a film featuring nothing but miscreant priests; I succeeded in getting the movie’s opening date moved from Good Friday. In 1998, they gave us “The Butcher Boy,” which starred Sinead O’Connor as a foul-mouthed Virgin Mary. In 1999, we were treated to “Dogma,” where the audience learned of a descendant of Mary and Joseph who works in an abortion clinic. In 2002, they released “40 Days and 40 Nights,” a film that ridiculed a Catholic for giving up sex for Lent. Also opening in 2002 was “The Magdalene Sisters,” a movie that smeared nuns. In 2003, “Bad Santa” opened for the holidays; Santa was cast as a chain-smoking, drunken, foul-mouthed, suicidal, sexual predator. In 2006, “Black Christmas” made a predictably dark statement about the holiday.
In 2013, the Weinsteins released “Philomena,” a tale about an Irish teenager who abandoned her out-of-wedlock son, and who, because of the good efforts of nuns, was adopted by an American couple. Of course, the movie maligns the nuns, as well as Catholic teachings.
It is the sexual maniacs in Hollywood who nurture a debased culture, one that breeds illegitimacy and AIDS. Yet the Weinsteins, and the Times, never stop blaming the Catholic Church, which counsels restraint. Thus have they inverted the victim and the victimizer.
That’s quite a list of movies, and I agree that the ascendant and now regnant culture of Hollywood and the left since the 1960s has generally championed a sexual dystopia, particularly noticeable in rates of illegitimacy which have skyrocketed over the last 50 years. Predictably, the destruction of cultural supports for high-investment parenting is poison for working class Whites and for Blacks and Latinos, with illegitimate birth being linked to every measure of pathology, from poor school performance to drug use, criminality, etc. But it is a culture where high-IQ types do just fine.
As in all other areas of U.S. society, such as the financial system and the legal system, the culture is geared for the new elite. No one should be surprised at this. New elite. New culture that’s geared for them — a culture, that as Pat Buchanan notes, has meant that “America has not only tossed overboard the moral compass that guided us for two centuries. We no longer even agree on what is “True North” anymore.”