It is not a cancellation; this is the consequence.
With our First Amendment, we can say whatever we want. But nothing protects us from the suffering of ramifications.
Disney’s somewhat surprising “Star Wars” -universehit of “The Mandalorian” surprising in part because the mouse was able to keep the lid on Baby Yoda; more amazing to me because of the way it was written and performed with a lot of episodes, cut out an actor named Gina Carano, and I’m using “the actor” here because it’s probably on her tax forms. Like too many people to make a living in the business, she somehow gets by with her looks, or something like that, because that’s definitely not talent.
She is paired with the first season of “The Mandalorian” instone-faced, emotionless “acting” only by Werner Herzog, whose client, thanks The Force, was killed. Suffering from the German director’s nasal intonations will remind you of leaked audition videos where a poor assistant never wanted to be an actor was tied up in a read dialogue, off-screen, to feed the actor.
She was released from the Disney universe, barely smaller than it is today, for a series of offensive social media posts, the last of which claimed to be a Republican today, It’s Like being a Jewish person during the Holocaust.
From a written statement from Lucasfilm: “… his social media posts denigrating people because of their cultural and religious identities are heinous and unacceptable.”
She also mocked wearing a mask during our global pandemic, and just like some former occupiers, voter fraud, despite absolutely no evidence, has come to light time and time again as court cases were thrown out, one by one. . Crazy discussions can inspire madness. Watch January 6.
Carano got away with a troll speech for a while, but the weight of the ugly words piled up. As recently as December, Disney was preparing a spinoff series for his character. All she had to do was keep showing off and not say ignorant things in public.
You know, like most of us have to, to keep our jobs.
Actors can achieve a level of prominence that is probably out of proportion to their ability to navigate the tides of stardom. There are a number of methods to treat:
The Kardashian, in which everything up to and including your internal organs is available for public consumption; probably not healthy. Don’t tell the ‘influencers’, who will one day reach a point of attraction where lonely people no longer click on their posts, revealing no out there, no fame based on fame. Someday they will experience soul pain screaming “This is what I had for lunch! No wait, here is my new workout tip! No wait, buy in this fashion line so they keep sending me gifts! ” in an insensitive void of social media.
Then there’s TheHarrison Ford, where you avoid advertising as much as possible, only accessing interviews if the studios require it. It takes financial success to buy a country as far away from the paparazzi as possible, while still retaining enough leverage to be summoned by the powers that live in what some consider exile, aka Wyoming.
Or there’s The Keanu Reeves, in which one wanders the earth lightly like a distant but accessible benefactor. Thanks to the John Wick and The Matrix franchises, Keanu has been a part of blockbusters, but what do you really know about him, other than the fact that the Buddha’s calm that he witnesses feels real?
In a 2019 “Late Show”, host Stephen Colbert, who speaks frequently about his Roman Catholic beliefs, launched a sort of curve on Keanu. They had spoken of the plot of “Bill and Ted Face the Music,” which mingles potentially changing situations with the story foolishly. Colbert continued the discussion on mortality by asking what the actor says will happen to us after we die.
Keanu: I know that those who love us will be missed.
Which stunned Colbert in several seconds of silence, for while nothing new, it is one of the simplest and most profound statements one can make about existence.
Speaking of methods and actors, there’s another blatant Hollywood or three, dancing on the sword of consequences in part because of the belief that art and success excuse everything. Joss Whedon has created some of the finest and most beloved entertainment of the past three decades, from “Buffy the Vampire Slayer” and “Angel” to his best TV experience, the infamous “Firefly”, and less. revered but still good efforts such as “Dollhouse” and “Agents of SHIELD”. He’s done well on the big screen, making a few Avengers movies that have grossed $ 3 billion worldwide. Even when he’s just playing with friends, he ends up creating things like the wacky “Dr. Horrible’s Sing-Along Blog” and his black-and-white adaptation of Shakespeare’s “Much Ado About Nothing,” Shot in 30 Days. and in his own home for virtually no budget.
Stories cropped up, however, that his off-camera behavior was less than acceptable, as reported by the cast of “Angel” and “Buffy,” and more recently of Ray Fisher, who did a nice job with the character. of Cyborg in “Justice League”.
Serious accusations deserve serious study. If Whedon is guilty as charged, no amount of public love or box office success should protect him from the consequences.
In a twist, much less successful at least aesthetic director-writer Zack Snyder worked on a “director’s cut” of “Justice League,” which Whedon took back after Snyder suffered a terrible personal loss. Whedon rewrote much of the script and downsized Batman, Superman, Wonder Woman, Flash, Aquaman and Cyborg’s first full-screen team to an unacceptable size and shape, in some opinion. Although popular wisdom doesn’t like it, “Justice League” made $ 657 million, a pretty respectable budget of more than double.
This week Snyder released a trailer for his new four-hour cut which, to me, given his background on “Watchmen,” “300,” and the dreadful and dreary Superman movies, sounds like a kind of special hell bringing more backstory, adding recently shot footage.
Among these new images, however, we can see Jared Leto in the role of the Joker. Now put aside for when Leto’s Joker was like an embarrassing and sloppy mess, I wonder why everyone seems to have forgotten his widely reported obscene behavior on the set of “Suicide Squad,” the excess of the actor blamed on the method.
The method of acting, in case you’ve forgotten other tricked idiots using it as a shield excuse, is to emotionally identify with the character. Much of it stems from the Stanislavsky Method, developed in the early 20th century, and, at its best, has led to more naturalistic screen performances.
It has also led pranksters to claim that their method is so important that it bulldozes everyone. Leto sent a dead pig to his colleagues on the table’s first reading. The rest you should be looking for, but know before Google that its cast included sex toys, used condoms and magazines, a switchblade knife, and at least one live rat.
This is not the method. It’s Jerk.
The method, trying to get your way through the character’s head, can be part of an actor preparation, but professional actors separate work from real life. The method can help you get there, but the behavior professional keeps you there.
Much like Carano and Whedon, Leto and his offenses need to be addressed. Right now, no one seems eager to do so. It can be, as it is with Michael Jackson, because some love him too much to face his ugly truth.
Yet people who otherwise believe in the sanctity of life rejoice when the truckload of mosquitoes rolls around. Maybe if Leto wasn’t as cute as mammals, if he wasn’t more wide-eyed than Whedon or Carano, then he would feel real and suffer the consequences as well.
Contact Tusk Editor-in-Chief, Mark Hughes Cobb, at [email protected], or call 205-722-0201.
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