Later, Callen shared why the cultural winds are shifting in Tinsel Town. Turns out a movie or TV show set is no place for a prima donna or someone who demands special treatment – think unconventional pronouns.
“Anybody who creates any of that kind of energy, it becomes problematic,” Callen explained. “When Hollywood hired all those DEI officers, movies started losing money.”
And, as a result, many were “quietly fired,” he said. That was then, albeit a few short years ago. The professional climate today is different, he explained.
“Now, the minute you apply for a job in Hollywood … if you wanna work on the set, if you put your pronouns down [on your resume], you ain’t getting the job. Nobody wants to deal with that maintenance,” he said. “I’ve been in those rooms [where decisions are made]. ‘Nope, I don’t wanna do any of that pronoun stuff.’”
“You can’t afford to have somebody sue or make a scene,” he added. “You’re dealing with too much money. You got 23 days to shoot this thing … nobody wants that [drama].”
But it sounds like plenty of pronoun people are still writing the material that’s filmed on those sets, according to veteran producer Jim Agnew, who may have just, as Roger Simon would say, blacklisted himself: “I’ve been in the WJ like 15 years. And let’s just say, because I have nothing in common with 99% of the people in the Writers Guild, let’s just say that in the last five or six years it looks like Starfleet Academy in real life. No, I’m not kidding. I’m not kidding. I mean, listen, I don’t think they can throw me out for making fun of other members and I’m too old to be hired on a TV show from some young show-writer. So, yeah, it looks like, you know, blue hair, lots of covid masks, beta males. Yeah. Pronouns everywhere. It’s literally is reflective of like 2,000 people who look like they’re in Starfleet Academy.”