Hollyweird and their delusions. God love em’.
French film company EuropaCorp succeeded in creating the leftist fairytale of every liberal’s dream in the new film “Miss Sloane” (in theaters everywhere Dec. 9), a political drama about a veteran Capitol Hill lobbyist who takes on the right-wing gun lobby.
Academy Award winner Jessica Chastain plays Elizabeth Sloane, the glamorous yet stone-cold feminist anti-hero who works endless hours, pops stimulant pills to stay awake, and hires male escorts to help her forget how miserable and lonely her life is. But for her, it’s all worth it. “Lobbying is about foresight,” Sloane tells us, and she will do anything – including breaking the law – to win. Because justice knows no limits.
At the start of the film, Sloane’s boss (Sam Waterson, of “Law & Order” fame) introduces her to a group of right-wing power-brokers who want her to help them fight the Heaton-Harris bill, which would place significant restrictions on the purchase of guns.
The clients – mostly gray-haired, white Republican men (of course) – explain that they want to get more female voters involved in the pro-gun movement by pandering to them with emotional tales of self-defense. Sloane laughs in their faces and suggests that they kill the idea “in utero,” citing the Charleston and Columbine shootings as reasons to support Heaton-Harris. Shocked by her response, her boss issues an ultimatum: Help the clients or lose her job.
Elizabeth Sloane promptly leaves her firm to spearhead the effort to pass the bill.
… though liberals may not control Washington anymore, the Left’s Hollywood machine and monopoly will undoubtedly be in propaganda overdrive the next four years.
On her first day at her new firm, Sloane befriends a female colleague named Esme (Gugu Mbatha-Raw), a Berkeley grad and gun control enthusiast who we learn survived a high school shooting.
Esme has gone to great lengths to hide this detail of her life, as it could be viewed as a conflict of interest in her profession. So when Sloane exposes her secret during a live TV broadcast, making her the poster-child for the anti-gun lobby, Esme is devastated. But Sloane is unapologetic; she cares about causes, not people.
Ironically, in an overt effort to glorify liberal values, “Miss Sloane” actually highlights what are, arguably, some of the Left’s worst qualities.
For example, when Sloane initially asks Esme about the high school shooting, Esme notes that the assailants didn’t purchase their guns legally, so a bill like Heaton-Harris wouldn’t have prevented the tragedy. This contradiction doesn’t faze Sloane, who runs with the tear-jerker narrative, choosing feelings over facts.
In one of the film’s most unrealistic scenes, Esme is chased down by a gunman who recognizes her from TV as the new face of the gun control movement. But before the gunman can shoot, a civilian with a concealed carry permit saves Esme’s life. When Sloane’s team gets word of the incident, their first concern is how it (the story about how a carry permit-holder saved the day) would affect their campaign, not Esme. (At least they’re consistent.)
Throughout the film, Sloane’s pro-Second Amendment adversaries are depicted as deeply corrupt and apathetic toward shooting victims. They dismiss news clips of shooting survivors and family members mourning their losses, opting to brainstorm ways to spin the narrative in their favor instead. And when they start to realize that Elizabeth Sloane and her team have a real shot at passing the Heaton-Harris bill, they blackmail a U.S. senator (John Lithgow) into leading a formal inquisition into Sloane’s lobbying practices.
But always one step ahead, Sloane uses old-school James Bond-style spy tactics to obtain video footage of the senator’s meeting with the gun lobbyists. During her hearing before the Senate, she discloses her findings, releasing them on the internet in a Wikileaks-style media dump.
“Our system is rotten,” she says. “It rewards rats. These rats are the real parasites on American democracy.”
The takeaway here is that information should be evenly distributed. It doesn’t matter how you obtain the information – the truth should come out. In the end, Sloane receives a light jail sentence for her misdeeds and becomes a heroin in the war on guns.
The moral argument of “Miss Sloane” is that the end justifies the means — but only when those means serve a liberal end. Had the film been released a month earlier, it may have served the Hillary Clinton presidential campaign very well.
Unless you’re a fan of “West Wing,” “House of Cards,” liberal choir-preaching, and leftist conspiracy theories, avoid seeing “Miss Sloane” at all costs. My husband called the film “so frickin’ contrived it’s hard to take.” which I found to be a very charitable assessment.
If this film successfully proves anything, it’s that though liberals may not control Washington anymore, the Left’s Hollywood machine and monopoly will undoubtedly be in propaganda overdrive the next four years.