Christian Toto’s chief job as a Media Research Center columnist is to complain that people in entertainment aren’t as right-wing as he is. He did some of that in his June 14 column:
Jason Bateman isn’t an official part of The Hollywood Resistance.
The “Ozark” and “Arrested Development” star talks comedy, Hollywood and more on his popular “Smartless” podcast alongside Sean Hayes and Will Arnett.
Dig through the web and you’ll find some Bateman comments that reflect his liberal views. He’s hardly among the more outspoken celebrities when it comes to politics.
So it’s surprising to see the Emmy winner drag MAGA voters, even as he admitted that doing so represents the “third rail” of celebrity politics.
In the process of that fretting, Toto insisted on calling Megyn Kelly, whom he approvingly quoted bashing Bateman, a “media superstar” despite the fact that all she does these days is be a right-wing podcaster. He also defended Trump’s supposedly wide appeal, insisting taht “MAGA attracted a wide coalition of voters, even former Democrats like Tulsi Gabbard and Robert F. Kennedy, Jr.” Nobody has considered Gabbard or Kennedy a real Democrat for years, and their current high cabinet positions in the Trump administration are more than likely conditioned upon loyalty, not competence.
Toto spent his June 21 column pushing a conspiracy that producer Brian Grazer is suddenly persona non grata in Hollywood because he expressed support for Trump. in the process, Toto laughably called the New York Times “far-left” and whined that the Grazer conspiracy is “the latest proof that Hollywood’s intolerance is un-American, undignified and out of control.”
Toto went on a right-wing Hollywood-bashing tirade in his July 5 column:
Hollywood took a turn for the worse in the wake of the George Floyd riots.
Not only did Cancel Culture ramp up but select programs were memory-holed for their “problematic” content. Case in point: Tina Fey approved the removal of four “30 Rock” episodes with black face-adjacent gags.
Warning labels suddenly graced beloved films, from “Dumbo” to “Goodfellas.” Comedians had to watch what they said or risk career repercussions.
The most shocking nod to diversity at all costs? The Academy of Motion Picture Arts and Sciences made Best Picture nominees adapt to woke bylaws … or else.
He then hyped the idea that the Trump administration would meddle in the private business of the Oscars over those supposedly “woke bylaws,” in the process even more laughably calling the aggressively right-wing Judicial Watch “bipartisan.” He also cheered that “President Trump recruited Hollywood legends like Jon Voight earlier this year to suggest ways to help the film industry,” without mentioning the fact that Voight is a right-winger like he is.
In his July 12 column, Toto was happy that Trump’s re-election undercut a planned film:
Terry Gilliam had it all worked out.
The rebel filmmaker saw the woke revolution stifling comedy and culture during the Biden years and wanted to make a movie about it. After all, no one in the greater Hollywood community would even attempt such a satire.
He even had a title: “Carnival at the End of Days.”
Then, a certain real estate mogul defied an assassin’s plot and returned to the White House last fall. How could Gilliam mock the “woke mind virus” when President Donald Trump’s comeback snuffed its fading embers?
No definition was offered of what “woke mind virus” is, if it is even a thing (it’s not).