I awoke from my old man nap with determination to show more proof the movie ‘One Battle After Another – is based on me! It’s – all about me – and MY PEOPLE, who deserted me when I declared I joined Shembe’s Zulu Nazarite Church in South Africa, in 1988. I could have been – A CONTENDER! I was……The Great White Hope!
So, I get out of bed. Turn on TV. and there is Robert DeNiro advertizing for the third NO KINGS DAY. Is Paul ‘Pea Soup’ Anderson going to take part? The King is asking for 200 billion dollars to fight – ANOTHER WHITE CRUSADE IN THE HOLY LAND. I need a Helper to help me google how many billions Republicans have asked Congress for, and, how many billions did Radical-leftist Hollywood Stars kept out of the……THE WAR ROOM FOR JESUS FREAKS!
I gave Victoria Rosemond Bond a bodyguard who is a Jesus Freak! I kissed any chance of making a Killing on Hollywood – goodbye! Now, with OBA(M)A I stand a chnce of making – A BIG BUNDLE! The Royal Janitor might be bought in a couple of months. However, Miriam Starfish Christling might be turned into a….
BLACK WARRIOR WOMAN AFTER SAMSON – THE JEW!
If I had enough AI skills, I would darken Starfish’s skin – and hair. I might have her employ body paint to – pass as black! I’ debating on her name. I like Willamlane, as in……..
THE BLACK LOIS LANE
John Presco
One Battle perpetuates the sexual racism sensationalism of Monster’s Ball by depicting black women as murderous wenches from a slave plantation/radical concubine underground. DiCaprio wears his doofus face from Don’t Look Up throughout, while Colonel Lockjaw (Penn) confesses his “black girl” fetish, and black feminist cult leader Junglepussy (Shayna McHayle) blazes through a Patty Hearst–style bank robbery, referencing the ’90s Queen Latifah–Jada Pinkett race flick Set It Off. This gives OBA(M)A its ersatz bona fides.
The Oscars Postmortem: Hollywood’s Political Radicalism
By Armond White
March 18, 2026 6:30 AM168 Comments
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How One Battle roots for a race war
Everyone ought to know that the Academy Awards stopped being about “excellence” many years ago. But now, after Paul Thomas Anderson’s political farce One Battle After Another was awarded Best Picture, the fact that the Oscars are totally politicized cannot be denied. The real tragedy is that the Oscars attest to a cultural change from aesthetics to politics. Few are able to tell the difference.
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Anderson’s film is insultingly timely, succinctly described by podcaster Alec Lace as the story of “a raid on an immigration detention facility, highlighting oppressive border control, systemic racism, and the role of Latino labor.” Anderson confused argumentation with entertainment, and the Academy concurred. (Lace also described it as “a leftist’s wet dream.”) That’s been the problem with Oscar winners ever since 12 Years a Slave, Birdman, Spotlight, Moonlight, The Shape of Water, Green Book, Parasite, Nomadland, Everything Everywhere All at Once, Oppenheimer, and Anora.
This sea change from art to social issues began with the second Obama term, when filmmaking leftists flexed their sense of empowerment. Virtue-signaling replaced honesty about race, sex, and morality — topics that preoccupied the “hope and change” activist movement. Now taste is supplanted by the shameless public display of narcissists.
One Battle — given the acronym OBA(M)A by internet wags — is not a satire of “both sides” extremists. It clearly endorses the violent actions of leftist revolutionaries (Leonardo DiCaprio, Benicio del Toro, Teyana Taylor, and Chase Infiniti) over the self-destructive behavior of a white-supremacist cult (personified by Sean Penn). Both sides share a secretive sexual attraction and connection teased by Anderson, perhaps more for personal reasons than narrative clarity. It’s the farcical treatment of American racial tensions that thrills Hollywood liberals and liberal reviewers who regard the film’s dishonesty as bold truth.
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This delusional hypocrisy was epitomized by the strange industry trade-paper headline in Variety: “No, One Battle After Another Is Not a ‘Left-Wing’ Movie.” Mainstream journalist bias always refuses to label anything “left-wing,” only “right-wing” to differentiate and stigmatize whatever it abhors.
Liberal reviewers are to blame for the public’s inability to see through this charade. We have a generation of go-along, get-along shills, not critics. That’s how OBA(M)A got away with the sexual-racial sensationalism of the Oscar-winning Monster’s Ball (which earned Halle Berry a Best Actress prize for sexual humiliation). Anderson could present the scandalous figure of black sex-freak assassin Perfidia (Taylor) by sentimentalizing the plight of the two white men who both claimed paternity of her biracial daughter, Willa (Infiniti). It’s the odious culmination of Obama’s biracial identity — a jokey justification of race war, which is the secret fear/desire of hope-and-change progressives.
One Battle perpetuates the sexual racism sensationalism of Monster’s Ball by depicting black women as murderous wenches from a slave plantation/radical concubine underground. DiCaprio wears his doofus face from Don’t Look Up throughout, while Colonel Lockjaw (Penn) confesses his “black girl” fetish, and black feminist cult leader Junglepussy (Shayna McHayle) blazes through a Patty Hearst–style bank robbery, referencing the ’90s Queen Latifah–Jada Pinkett race flick Set It Off. This gives OBA(M)A its ersatz bona fides.
In the New Yorker, Richard Brody capitulated to Hollywood’s aesthetic self-destruction by pretending there’s “an expanded cinema . . . introducing spectacular cinematic form.” That’s a lofty way of saying that Hollywood wants to promote escapism through propaganda — to ignore American realities for Bolshevik fantasies. The legacy media insist on denying American realities and instead echo the press releases of Democratic politicians. Yet it’s phonier than last year’s Anora. Remember how the director of that movie, Sean Baker, and its star, Mikey Madison, both saluted “the sex worker community” in their acceptance speeches. But this year, Anderson fakes solidarity with black women as sex worker/activists. This is how Hollywood manipulates race politics. (It’s what links One Battle to Ryan Coogler’s egregious, juvenile Sinners. They’re two sides of the same bad penny.)
It’s only Hollywood’s self-delusion that allows its propagandists to continue with the pretense of the Academy Awards. (The 15-minute tribute to the late Rob Reiner avoided the Hollywood Babylon aspect of his political fanaticism and grisly demise.) Conservatives may pretend to ignore the show and not watch it, but it’s important to recognize and point out the hypocrisy. This is an industry that instituted its own set of Nuremberg Laws, a list of “Inclusion Standards” regulating race and gender quotas; disrespected itself by refusing to broadcast the presentation of its Honorary Awards (rightly refused by Jean-Luc Godard); and failed to ennoble its own history in a sloppy memorial tribute that inexcusably omitted figures who have made key contributions to cinema history, from Brigitte Bardot to Connie Francis.
Putting forth an insensitive face, the Oscar telecast host Conan O’Brien and the various presenters paraded their class advantages before the world, honoring a grossly dishonest film, confirming the anti-art, agitprop slant of other organizations during awards season, including the sleeper cells of film reviewers who first touted One Battle, all of them hoping for Armageddon.
As one of the American Eccentrics, it was always PTA’s quasi-Hollywood indie intention to distend and parody aesthetic standards, as in Punch-Drunk Love, Magnolia, There Will Be Blood, The Master, and Phantom Thread. The fierce political fetishism of DiCaprio and Penn isn’t fully dramatized so that we understand the men’s attitudes; instead, Anderson gives us comic grotesques (Lockjaw’s prosthetic jaw is as ridiculous as the fake penis in Boogie Nights) to avoid genuine confrontation with his warped liberal mindset. The Academy lauds the movie with sham legitimacy. The Oscars’ postmortem proves it’s Hollywood’s art that’s dead.
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