As allegations of sexual exploitations pile up, the
industry has absorbed the critiques and converted them
into inspirational messaging and branding exercises.
Is it possible for Hollywood to truly reckon with its issues while it’s so busy celebrating itself? It’s remarkable how slickly the entertainment industry — and its annual showcase, the winter awards show circuit — has adapted to the accusations against it. Harvey Weinstein may have been cast out of Hollywood (exiled, for now, to a spa in Scottsdale, Ariz.), but his complicity machine stretched its tentacles into agencies, law firms, fashion deals and of course, awards shows. New allegations of exploitations and inequities are revealed every week. The details suggest systemic rot.
In response, Hollywood has nimbly absorbed its critiques and converted them into inspirational messaging and digestible branding exercises, just in time for the unfurling of the red carpets. Whatever talks may (or may not) be happening inside agencies or on film sets, the message that comes across is this: The industry has skirted a conversation about its culture of harassment in favor of one about what an amazing job it is doing combatting that harassment. It’s engaged in just enough introspection to recalibrate and move on.
.. But when an earnest effort is fed through the Hollywood machine, it is quickly repurposed for what Hollywood does best, which is to sell things — women included. The initiative has revealed as much about Hollywood’s still unexamined sexism as it has the abuses it intended to address. In short, that women are expected to clean up the industry’s mess, and look good doing it. And they don’t have much choice, either, because if they say nothing, they’ll be knocked for that, too.
.. In this commodified atmosphere, it was difficult to process the appearance of real activists on the red carpet: #MeToo founder, Tarana Burke, came as Michelle Williams’s date, while Meryl Streep brought along Ai-jen Poo, executive director of the National Domestic Workers Alliance. The tactic bucked expectation — namely, that actresses tie their public personas to their relationships with men — and gave these pioneering activists exposure that’s hard to come by, but it also revealed the impossibility of dismantling an event bent on promoting a certain kind of femininity and luxury at once.
.. The image of white actresses paired with activists of color suggested a kind of moral accessorizing. And the meeting of celebrities and “regular” people came tinged with a preset narrative, one where the celebrity’s perceived exceptionalism is only enhanced by her engagement with the real world. But when Ryan Seacrest interviewed Ms. Williams and Ms. Burke on the red carpet, E! made it clear which it valued most — women’s appearance, or what they have to say. The network shrank Ms. Burke’s image into a corner as soon as she began speaking and turned its gaze to the actress Dakota Johnson. She twirled.
.. Watching this sparkling protest unfold, it’s easy to forget what exactly is being protested. The ugliness of rape and abuse is polished into optimistic hashtags and spun into glamorous dresses. In glad-handing Hollywood, criticizing the industry is verboten, but using one’s platform to advocate for other people is so expected it’s a cliché. (Mr. Weinstein himself was a master of linking his films to social causes, cynically pitching the award show ballot as a kind of morality test.)
.. The most electrifying moments of this protest have come when Hollywood women choose instead to model what it looks like to interrogate their own industry’s destructive norms: When Debra Messing broke red carpet geniality to speak out against E!’s underpayment of women, straight into an E! microphone, or when Ms. Portman presented the Golden Globes’ best director nominees as “all-male.”
.. all of this is quite easier for men. Just as they’re not required to uphold the same standards of beauty as their female peers, men are generally excused from carrying the moral weight, too. At the Golden Globes, they got by silently wearing Time’s Up lapel pins.
.. Justin Timberlake captioned his pre-Globes Instagram snap: “Here we come! And DAMN, my wife is hot! #TIMESUP #whywewearblack.” The bar is so low for men that this was, according to Instagram, the most-liked post of the night.
.. One way to push Hollywood toward change is to heighten its contradictions, drawing out the gap between its shimmering idea of itself and its darker realities. The image Hollywood builds for itself at these self-congratulatory events can be used as a bargaining chip for behind-the-scenes activist wins. As the SAG Awards neared, pressure mounted for the guild to protect its workers by installing a real code of conduct to address harassment. And as “All the Money in the World” racked up award nominations, the revelation that Mark Wahlberg earned much more to participate in reshoots than his co-star Ms. Williams — reshoots necessary to scrub the film of Kevin Spacey, and make it palatable for post-#MeToo audiences — created such a PR nightmare that Mr. Wahlberg ended up donating his $1.5 million salary to Time’s Up.
.. When Mr. Franco attended the Golden Globes earlier this month, grinned down the red carpet and bounded onstage to claim a statuette for “The Disaster Artist,” he wore the Time’s Up logo pinned to his lapel. As the night unfolded, female acting students and collaborators began filing complaints on Twitter about Mr. Franco’s own behavior, noting the hypocrisy of the pin. When Mr. Franco appeared on Seth Meyers’s show days later, he was grilled over the allegations. A Los Angeles Times report came next. Mr. Franco skipped the Critic’s Choice Awards, and when he turned up at the SAG Awards last Sunday, his very appearance made news. This time, he didn’t wear the pin. Aziz Ansari, who himself weathered his own hypocrisy scandal after wearing the pin at the Golden Globes, didn’t even show up. All of a sudden, a Hollywood awards show is a perilous place for some men to be.
.. For a woman, getting old is as much of a career-ending affront as an assault allegation is for a man. When Mr. Meyers opened his Golden Globes monologue by greeting the “ladies and remaining gentlemen,” I thought of all the women who don’t “remain” in Hollywood, either, pushed out through abuse or just discarded. One of those women — until recently — was Rose McGowan.
.. She’s now emerged as the most prominent actress to take aim not just at Hollywood abusers but at Hollywood itself.
.. Ms. McGowan and other accusers of Mr. Weinstein were not invited to the campaign’s Golden Globes coming-out party.
.. On Twitter, she’s called out “fancy people wearing black to honor our rapes.” Of Ms. Streep, she wrote: “YOUR SILENCE is THE problem. You’ll accept a fake award breathlessly & affect no real change.”
.. its opening line — “I was in the middle of my second movie for his company, and I get assaulted” — is itself more real and more damning than anything that’s been said at these Hollywood events.
First of all, people who create mottos about how they don’t care what people think tend to be precisely the sort of people who care what other people think.
Another dead giveaway: When you repeatedly invite reporters from places such as Vanity Fair to follow you around and record your Stakhanovite disregard for the opinions of others.
Similarly, people who famously call back every reporter seeking a quote are the kind of people who love being buttered up by journalists.
.. Likewise, people who hungrily cooperate with authors looking to turn them into political celebrities are really into the idea of being political celebrities.
Staffers who take credit for their bosses’ political victories, on the record, tend not to be aloof islands of self-confidence either. People desperate to let you know that their philosophical lodestars are obscure mystics and cranks — he studied Evola and Guénon! — tend to be compensating for something.
.. If Bannon truly didn’t care about the “Opposition Party,” his term for the mainstream media, he wouldn’t have lost his job in the White House, the favor of the Mercers, and what was left of his reputation. But he just couldn’t resist talking to reporters and claiming credit for the accomplishments of others.
.. Bannon is a common character in Washington: a megalomaniac who made the mistake of believing his own bullshit.
Bannon believed he was the intellectual leader of a real grassroots movement, and all that was needed to midwife it into reality was to Astroturf as much rage and unthinking paranoia as the Mercer family’s money could buy.
.. Bannon’s self-proclaimed Leninism was mostly the kind of b.s. one spouts to rally the twentysomethings in their cubicles to churn out more ethically bankrupt clickbait fodder.
.. Lenin was a real radical who wanted to tear everything down. But his motto wasn’t “Honey badger don’t give a sh*t” — it was “The worse the better.” Both men share a theory that by exacerbating social tensions — heightening the contradictions in Marxobabble — they would emerge victorious. The biggest difference between the two men is that Lenin knew what he was doing.
.. There is a Nietzschean quality to both Bannon and the host organism he fed off. Rhetorically, Trump extols strength and power and denigrates rules and norms. But Trump’s Nietzscheanism is almost entirely in service to his own glory. He simply wants praise for its own sake. Bannon’s fetishization of strength and power and his denigration of rules and norms stems from a potted theory about how to burn it all down so he can rule the ashes.
.. He marveled at the performance art of Milo not because of any intellectual merit, but because it was transgressive, which is its own reward to the radical mind.
.. People spend too much time trying to figure out if Bannon is a bigot. Who cares? Isn’t it even more damning that he was perfectly comfortable to enlist bigots to his cause simply to leach off their passion and intensity?
.. Because Bannon consistently confuses means and ends, he was fine with forming an alliance of convenience with the alt-right when he thought it could help him.
.. Bannon likes to talk a big game about the importance of ideas, but his idea of how politics works is entirely anti-intellectual, and that’s what spelled his doom.
.. He talks a lot about the Trump agenda, and yet he’s made it his project to destroy any politician Trump actually needs if they dare stray from public sycophancy to Trump or fealty to Bannon’s dog’s-breakfast ideology.
.. He goes around the country stumping for crackpots and bigots, claiming to be the Joan of Arc of Trumpism, boasting incessantly of his courage and loyalty to Trump as evidenced by his willingness to stick with Trump during “Billy Bush Weekend.”
.. There’s just one problem: Bannon can’t stick to it. He just can’t help but boast to liberal reporters about how great and brilliant he is. He can’t resist talking smack about his rivals and denigrating the reality-show nationalist that plucked him out of relative obscurity, because despite all the impressive verbiage, Bannon can’t help but make himself the story.