On 9 July 2010, Steven Zeitchik writes Mel Gibson’s mainstream Hollywood career is over — for real, this time:
…as sad as it is that someone with all this experience could walk the world in his own bubble of hate, it’s perhaps sadder that it took so many of us this long to realize what should have been clear all along.
On 12 July 2010, he writes Latest Roman Polanski chapter puts the saga back where it started:
Those who are fans of his films — regardless of their opinions of his character — might be heartened to know he could soon be working again.
Jewish morals on display. A mouthy White gets blackballed. An absconding child-raping jew gets well wishes.
See also James Edwards’ The Crucifixion of Mel Gibson.
UPDATE 12 July 2010: Same day, same paper, same double standards.
On 12 July 2010, Patrick Goldstein writes Has Mel Gibson become a pariah in Hollywood? Or just for the time being?:
There are plenty of tough jobs in the movie business, but right now it’s hard to find any applicants for the job of defending Mel Gibson.
On 12 July 2010, he writes Roman Polanski is a free man. You got a problem with that?:
When it comes to Polanski, history will be the only judge.
Regarding Gibson, Goldstein writes:
Once the extent of Gibson’s racist tirade became clear, it was pretty obvious that there was no way WME could possibly keep Washington if it made any effort to keep Gibson as well. So Gibson was a goner. And as I’ve discovered from talking to the heads of other agencies in town, not to mention the heads of several studios, Gibson is a true Hollywood pariah right now. Every talent agency has a cadre of important African American clients who would be outraged–and rightfully so–if their agency made a play for Gibson as a client.
Since none of the high-level agency executives would speak on the record, I’ll paraphrase their explication of their thought process: Based on what’s happened, you have to assume that Mel is a total jerk, so why would you want to be in business with him, since it’s not only bad for your soul–and probably makes you look sleazy–but if he’s a total jerk to his ex-girlfriend and people around him, then why wouldn’t he be that way to you too? You have to figure that working with him would be both financially and emotionally unrewarding. If it were just one or the other, maybe you could do it, but if it’s both, you just say–Yuck!
In other words, to use a favorite Hollywood maxim: Life is too short.
These heads of agencies, heads of studios, and the media pundits (like Zeitchik and Goldstein) making a stink about Gibson aren’t black. They’re jewish. So in other words, what Goldstein is describing is an essentially jewish boycott of Gibson that they’d like everyone to instead attribute to blacks.
Regarding Polanski, Goldstein regurgitates much of the same apologia he and other jews spun when when Polanski was first arrested. Rather than being a sleazy jerk you wouldn’t want to do business with, Polanski is instead a victim of Glenn Beck and Puritanism, and all the hubbub is a but a clash between European and American values. As with Gibson, the jewish angle is obfuscated, attention is redirected elsewhere.
On 12 July 2010, Steven Zeitchik also writes The Hollywood wagons circle Mel Gibson to complain that rank-and-file Hollywood non-jews haven’t yet joined the pariah parade jews are organizing against Gibson. Zeitchik notes Whoopie Goldberg has actually defended Gibson, and that Danny Glover has so far refused to comment. If more Hollywood blacks don’t start stomping their feet soon jews will be left to take credit for blackballing Gibson themselves. Goldstein intimates that most of the Hollywood jews are afraid to do this because they’re greedy and might want to make money with Gibson some day. More likely they just want someone, anyone else to take the blame. If blacks won’t serve then we can expect to see the “sexism” angle amplified in a bid to recruit women to the pariah parade. That, of course, will only heighten the contrast with Polanski and the pass he has gotten from jewish “feminists”.
