Apparently there is some disappointment among social justice warriors that the much ballyhooed “inclusion rider,” promoted by actress Frances McDormand in her 2018 Oscar acceptance speech, has not taken the city by storm despite abundant lip service from the Tinsel Town “woke.”  What a surprise: a business that either thrives or falls on the quality and popularity of its product chooses to make artistic decisions based on talent and merit rather than tribal quotas.

The “inclusion rider,” in its most literal form, is essentially a pledge to engage in discrimination, and to subjugate the purpose of art to “diversity” goals. All one has to do is observe the practices of “inclusion” advocates like Ava DuVernay,  currently embroiled in controversy over her racially slanted portrayal  of the Central Park Five story in her series, “When They See Us. She has vowed to hire only female directors for her series “Queen Sugar.” And how is refusing to hire an entire gender for a project “inclusion”? Well, one has to comprehend the tortured logic of the Diversity Nazis to answer that question. Continue reading →