Everyone can relate to the sense of horror they experienced when the film La La Land was mistakenly announced as the Oscar winner for Best Picture, and the Oscar was taken from the hands of the actors and given to the cast of Moonlight. But the horror was not just a case of second-hand embarrassment or shock – it was a source of disillusionment. Every film in that room took second place to identity politics.
As Hollywood watchers considered the ‘symbolism’ of the ‘error,’ many were left questioning whether the mix up was intentional, and in response to criticisms that La La Land favourably illustrated conservative values, and did not include LGBTI characters as a show of diversity.
Miranda Devine, writer for The Daily Telegraph, chimes in on the incident, observing:
And of course, Moonlight, which was announced as the rightful winner of best picture after a lot of kerfuffle on stage, is a virtue signaller’s wet dream, a “necessary”, “important” coming-of-age film about gay love and homophobia in the black ghetto, the first best picture winner with an all-black cast and an overt LGBT theme.
Although the whole debacle was labelled as an accident, it is too coincidental that the Oscar voters decided to crush the leading, highly lauded heterosexual film of the year, while awarding this year’s most overtly LGBTI film in a blaze of glory.
Unfortunately, the Oscars is not the only territory in Hollywood that has been overtaken by the LGBTI agenda. Disney, a long time subliminal advocate for the LGBTI agenda, will debut its first openly gay character in its new version of Beauty and the Beast. According to The Telegraph:
The team have now revealed one character, LeFou, will experience Disney’s first ever “gay moment” on screen, as he struggles with his feelings for ultra-macho leading man Gaston.
Matt Cain, editor-in-chief of Attitude magazine, said: “It may have been a long time coming but this is a watershed moment for Disney.
“By representing same-sex attraction in this short but explicitly gay scene, the studio is sending out a message that this is normal and natural - and this is a message that will be heard in every country of the world, even countries where it's still socially unacceptable or even illegal to be gay.
“It's only a first step towards creating a cinematic world that reflects the world in which many of us are now proud to live.”
There has been so much hype with this new Disney film, with kids really keen to see it, and many older audiences looking forward to seeing a classic Disney tale once again hit the silver screens. Yet, it has only now been revealed that there is an overtly gay theme infused into the story, with the promise of an explicitly gay scene. The normalisation of same-sex attraction is ideological, and Disney knows exactly what they are doing by incorporating this angle into a classic love story. If they are so determined to represent all lifestyles of our world, then where are the other "minority" groups represented in Disney?
Although we have been repeatedly told that redefining marriage will not have any consequences for the rest of society, even recent experience in Hollywood shows us that, unless your film trumpets the LGBTI agenda, your chances of gaining “critical acclaim” are slim. This idea has already infiltrated the realms of Hollywood, as evidenced by the reckless abandon with which LGBTI characters and themes are highlighted to the detriment of other characters and storylines. As Hollywood and Disney know full well, where the media goes, the rest of society will soon follow, as people are slowly desensitised to the agendas thrust before them.
This captivity to identity politics is one of the many consequences the common citizen will bear if the LGBTI agenda is permitted to rewrite the laws of Australia. Is this what we want for our country?