Rosie O’Donnell is unqualified to speak on anything other than weight problems and lesbianism. Nonetheless, she has seen fit to use girl-talk television show "The View" to promote her insane views about the events of 9/11. "I do believe that it defies physics for the World Trade Center Tower 7, which collapsed in on itself — it is impossible for a building to fall the way it fell without explosives being involved. Miraculously, the first time in history steel was melted by fire," O’Donnell prattled. "To say that we don’t know that it imploded … is beyond ignorant. Look at the film, get a physics expert from Yale, from Harvard, pick the school."
And O’Donnell didn’t stop there. The Iranian kidnapping of 15 British sailors was not an audacious attempt to humiliate the West, O’Donnell said. It was, in fact, an Anglo-American conspiracy designed to provoke a Western invasion of Iran. "anderson cooper / wake up," she poetically penned on her first-grade level blog. "the british did it on purpose / into iranian waters / as US MILITARY BUILD UP ON THE IRANIAN BORDER / we will be in iran / before summer / as planned / come on people / u have 2 c / i know u can."
O’Donnell may not be able 2 c either her toes or her spellchecker, but she isn’t alone in her delusions. O’Donnell’s 9/11 conspiracy theory allies include Charlie Sheen, Woody Harrelson, Mos Def, Eminem, Antoine Fuqua, David Lynch, Ed Asner, James Brolin and Richard Linklater.
Her Iranian idiocy is even less controversial among the Hollywood glitterati. For Hollywood types, it is an article of faith that President Bush would manipulate the country into war to enrich his buddies at Halliburton. America, in this view, is an imperialist power bent on global domination and exploitation. America’s Islamofascist enemies, by contrast, are "freedom fighters" who seek to maintain their native independence against the American jackbooted thugs.
This isn’t simply harmless nuttiness; it directly impacts the material Hollywood produces. The last three years have witnessed a steady stream of pro-Islamofascist propaganda emanating from Tinseltown. Michael Moore’s propaganda flick "Fahrenheit 9/11" (2004) won Hollywood’s heart — and portrayed the Bush administration as corrupt and evil. Hero to the left George Clooney won a Best Supporting Actor Oscar for his role in "Syriana" (2005), which he also executive produced. That film proposed that America murdered liberal Muslim reformers in order to ensure oil profits, suggested that capitalism caused Islamic terrorism, accused the oil industry of running the American government and glorified homicide bombers.
In 2005, Alan Rickman directed and acted in a play eulogizing anti-American, terrorist-supporting nut job Rachel Corrie, killed by Israeli bulldozers in 2003. Billy Zane and Gary Busey went overseas to contribute to global anti-Americanism, making a Turkish film called "Valley of the Wolves: Iraq" (2006), in which Americans bomb an Iraqi wedding party and a Jewish doctor harvests Arab prisoners’ internal organs for sale in London, New York and Tel Aviv.
None of these moviemakers are losing work over their anti-Americanism. Moore continues to pump out his scurrilous propaganda. Clooney is perhaps Hollywood’s most successful star. Alan Rickman has no less than five upcoming projects; Zane has four; Busey has seven.
These are only the most obvious examples of Hollywood’s anti-Americanism. Hollywoodites are so blatant about their leftism that they turn even relatively apolitical films into anti-Bush screeds for publicity purposes. The human sacrifice in Mel Gibson’s "Apocalypto" was, according to the director, a metaphor for the war in Iraq: "What’s human sacrifice if not sending guys off to Iraq for no reason?" Richard Gere describes "The Hoax," a film centering around a man who falsely claims to be ghostwriting Howard Hughes’ biography, as a movie about "huge lies that have to do with nations and history and the Supreme Court and craziness not unlike [what] we’re dealing with today."
Here’s the obligatory and unnecessary disclaimer: All of the above is free speech. Nonetheless, there ought to be consequences, at the box office and at the contract-negotiating table, for actors, directors and writers who utilize their medium to push paranoid and ultimately treasonous material. Hollywoodites care about politics, but they care more about money. For all their carping about capitalism, the glitterati realizes there are many aspiring actors, directors, writers and producers waiting tables, ready at a moment’s notice to take their place. It is our responsibility to remind Rosie O’Donnell and her Tinseltown allies that they are just a few unsold tickets away from obscurity.