ANNALS OF LEFTIST AUTOPHAGY: Emilia Perez and the Greatest Hollywood Awards-Season Story Ever Told.
I don’t think it’s activist protesters who are going to take Perez down, even though “the Groups” have been out in force complaining about the film as early as November of last year. (GLAAD: “How dare you associate transgenderism with Mexican drug lords?” Mexicans: “How dare you associate Mexican drug lords with transgenderism?”) But Hollywood is still the same industry that patted itself on the back for Crash and Green Book; months of whinging and activist pressure wasn’t enough to prevent them from nominating this farce 13 times over.
No, the real problem is that it turns out lead Karla Sofía Gascón — the first-ever transgender Best Actress nominee, another woke Hollywood “milestone” — has been uh, hilariously unwoke. Back during worldwide Covid lockdown, Gascón was tweeting in Spanish about how George Floyd was “a drug addict and a hustler” and denying that all police were murderers. Years before that, Gascón was arguing that “Islam is becoming a hotbed of infection for humanity that urgently needs to be cured.” Gascón doesn’t understand why world opinion disfavors Hitler, it turns out. But nothing beats this take on 2021’s Oscar winners: “I didn’t know if I was watching an Afro-Korean festival, a Black Lives Matter demonstration or the 8-M.”
Well, maybe Gascón has a future writing opinion columns on Substack. But probably not as the Best Actress winner, because the publicity tour for Emilia Pérez has predictably gone to hell now that sleuths (read: paid opposition researchers from rival studios) dumped Gascón’s past words onto a liberal Hollywood ecosystem already torn by how best to demonstrate Resistance to resurgent Trumpism. “By awarding a statue to someone who speaks a lot like a Trump voter” is apparently one possible answer.
Exit quote: “It’s downright athletic how Emilia Pérez presses nearly every single woke button imaginable, almost suspiciously so, as if created in a lab to play to critically fashionable political ephemera.”