Hat tip, ECM.
Until now, conservatives in Hollywood have always been too few and too worried about a backlash to do anything serious to challenge the left-wing status quo.
The first assistant director breaks the silence.
The set jumps to life. Two young men–both terrorists–enter the
station. They are surprised to see a security checkpoint manned by two
NYPD officers. “I’ll need to see your bag, please,” says one of the
officers. The lead terrorist glances nervously at his friend and swings
his backpack down from his shoulder to present it to the cops. Just as
the officer pulls on the zipper, however, a small army of ACLU lawyers
marches up to the policemen with a stop-search order. The cops look at each other and shrug their shoulders. “This says we can’t search their bags.”
The young men are relieved. They smile fiendishly as they walk toward the crowded platform. As the lead terrorist once again slips the backpack over his shoulder, he mutters his appreciation.
“Thank Allah for the ACLU.”
Zucker was still nominally a Democrat when George W. Bush was elected in 2000. “Then 9/11 happened, and I couldn’t take it anymore,” he says. “The response to 9/11–the right was saying this is pure evil we’re facing and the left was saying how are we at fault for this? I think I’d just had enough. And I said ‘I quit.’”
The holiday in An American Carol is not Christmas and the antagonist is not Ebenezer Scrooge. Instead, the film follows the exploits of a slovenly, anti-American filmmaker named Michael Malone, who has joined with a left-wing activist group (Moovealong.org) to ban the Fourth of July.
Conservatives have been waiting for a movie like this for...ever.