D’Souza’s Smash Hit ’2016′ Erased from Oscar Best Documentary Consideration

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The left-wing media keep pretending there is no “gray-list” in Hollywood, but it’s crystal clear that there is a kind of reverse McCarthyism in the ranks of the entertainment elite. D’Souza’s smash-hit biographical film about Barack Obama is the second-highest grossing political documentary of all time, taking backseat only to Michael Moore’s anti-Bush conspiracy film Fahrenheit 9/11. But forget about that being enough to qualify 2016 for nomination at the upcoming Oscars.

Professed communist and multi-millionaire Michael Moore is currently the Academy Award Governor for documentaries, just for a bit of perspective (can anyone imagine a conservative like Dinesh D’Souza in that role?). Since D’Souza’s film is a fact-driven critique of Barack Obama’s past, rather than a herald of the ‘triumphant’ Obama narrative (complete with soaring gospel hymnals), no one expected 2016 to make the Oscar short-list for documentaries. But its erasure from history at the February 26th Oscars will be merely another confirmation of Hollywood’s left-wing bias.

Back in the 1940s and 1950s, some in the Hollywood movie industry were “blacklisted” because of alleged associations with communists and socialists. The later cries of McCarthyism regarding government oversight of the industry for communist connections seemed to protest state censorship; but one also wonders if the charges hit a little close to home.

There seems to be an unspoken rule in Hollywood never to speak ill of communists in word or in film; while one can count the number of popular anti-communist films on one hand (the old Red Dawn, e.g., which has been gutlessly updated to villainize the hapless NoKors), there have been countless anti-Nazi films to the point of it becoming a cliche (see Dead Snow). This is in part a reflection of the Comintern propaganda that National Socialists were completely “right-wing” and Stalin’s brand of nationalistic communism during the Great Patriotic War was completely “left-wing.” Both regimes were anti-capitalist and in favor of state-planning; in addition, the Nazis weren’t anti-union, they had one mandatory worker’s union — the German Labour Front.

Yet Hollywood refuses to acknowledge the real “inconvenient truth”: that socialism or state capitalism or communism or simply put, coercive collectivism — kills. A lot. Easily upwards of a 100 million a lot.

But now a tyranny of closed-minded open mindedness, or “repressive tolerance,” has relegated all storylines not fitting the mainstreamed left-wing account of history as unworthy of intellectual elites’ consideration for special recognition. This is the seedy and obscured undercurrent of “cultural marxism” that pervades “the culture industry.”

Today’s left-wing bias can easily be seen regarding 2016 by the wide gulf in reviews between the critics and the audience on the popular film review site Rotten Tomatoes. While critics gave 2016 a dismal 27% review, the audience mostly enjoyed the film at 75%. This is one of the widest disparities this user has ever seen on the website. By comparison, Michael Moore’s Fahrenheit 9/11 was liked by 83% of critics and 69% of audiences; while Al Gore’s discredited Oscar-winning flick An Inconvenient Truth garnered 93% positive critical review to an audience approval clip of 75%.

Documentary director Michael Moore won an Academy Award for his anti-gun disinformation piece Bowling for Columbine, and was nominated for his Cuban healthcare system-lauding Sicko. Nonetheless, Moore has complained about recent changes to the film nomination process, calling them a “disaster.”

Moore says no one wants to go back to ”secret committees” or “the Kremlin” as he puts it but still is completely frustrated, and told me yesterday he now thinks the answer may well be not having any special rules at all. [...] “Maybe the idea here is there are no special rules for the documentary branch. Why do we think we’re special? What if we just decided as a Board of Governors that the documentary branch is going to play by the same rules every other branch plays by.

No special rules for Hollywood’s Central Committee for Documentaries? What a completely un-socialist idea.

Below is the trailer for 2016: Obama’s America by former King’s College President Dinesh D’Souza, who apparently was ousted shortly before the 2012 election because of a trivial matter involving being spotted in public with “another woman.” Academia apparently has its own gray list as well.

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