Why The Outright Rejection of “Bombshell” Is Reasonable

Media personality, Jemele Hill isn’t backing down from the habitual need to express her opinion about active issues, that always seem to revolve around the supremacy that elevates the validation of whiteness above all else.

It’s what got her nationwide attention while stationed at former employer, ESPN, when she unapologetically labeled Donald Trump a white supremacist to the chagrin of the polluted White House, that demanded her immediate firing.

Hill has since moved on to bigger and better, and my fandom of her enviable trajectory is mainly focused on how she never fails to maximize the enormity of her platform for the benefit of providing much-needed transparency, and authenticity to events that are otherwise hijacked by the willfulness of White feminism.

That explains the latest disturbance in the force that was initiated by a tweet from Hill, regarding yet another dramatized offering centered around the celebrated exploits of Fox News founder, the late Roger Ailes, who is being kept alive by the steady stream of projects in his name.

Several months ago, Showtime unleashed The Loudest Voice, starring a barely recognizable Russell Crowe, swathed in bodily armor that was distractingly cumbersome, in the villainous role of the man who built the network that would serve as the towering mascot of whiteness at its most deadly.

And while the unevenly rushed miniseries was having its unremarkable run, the logistics for Bombshell, was already underway.

Actress Charlize Theron, who stars and co-produces the recently released film about the heroic women of Fox News who conspire to take down the evil man in their midst, has been engaged in a press tour to promote the ill-fated project.

Theron, who also underwent an extensive makeover to resemble Megyn Kelly, the once-shiny star of Fox, who is best known for her disgraceful exit from her highly-touted morning show on NBC, after making a strong case for the legality of blackface, may have had the best of intentions, but Bombshell is clearly not resonating on any level.

Even the slew of A-listers including, Nicole Kidman who plays Gretchen Carlson and anointed ingenue Margot Robbie, who portrays a fictional and generic bubbly blonde, couldn’t amass the stellar response that would’ve endorsed the assumption that there’s still a healthy interest in this exhaustive saga.

Hill’s public confession about her lackluster embrace of an ambitious movie that depicts victimized White women, willingly employed at a prominent media giant that thrives from the principles of White supremacy, expectedly caused controversy, particularly when Carlson interjected.

Even with the army of White feminists, sharing their pained responses and the summation of how sexual harassment can’t be reduced to the condemnation of employees who participate in toxic environments that openly host nefariousness, Jemele Hill maintained her stance with lots of help from her friends.

Obviously the argument isn’t for demonizing the women who weathered the very worst at a notorious cable news network that continues to advocate for the terrorizing of vulnerable communities.

As usual White women miss the point entirely because of the societal coddling, that prevents the ability to consider the disposition of Black and Brown women who are always erased from the conversations of victimhood, due to how our pain can’t ever compare.

When #MeToo went viral, most believed that vocal spokeswoman, actress Alyssa Milano was the brilliant mind behind the movement, and it would’ve stayed that way if word hadn’t spread about Tarana Burke, who actually established the organization back in 2006.

Time’s Up was the next outfit to follow suit in early 2018, during award season, which became the preferred venue for the rich and famous to showcase their splashy activism, decked out in all-black designer garments with the arm candy of representatives of the moment.

Westworld actress Thandie Newton bravely spoke out against her traitorous counterparts, illustrious White actresses like Jessica Chastain, Reese Witherspoon, Nicole Kidman, Margot Robbie, etc, who were involved in conceiving Time’s Up.

Newton felt slighted that she wasn’t extended the initial invitation, as a Black woman in an industry that didn’t recognize the criminality of her traumatizing experience as a 16-year-old with a much older film director, back when she first divulged the details, during a period of reflection.

The climate of awareness and “wokeness” hadn’t arrived, and so Newton’s revealing interview didn’t make much of an impact, but once Hollywood began the process of atoning for the sins of finessing predatory practices, as usual, White women were at the forefront of the revolution.

Incidentally, Kidman co-starred in Flirting, and it’s not clear whether or not she was aware of director John Duigan’s inappropriate behavior with Newton during filming. But the loud silence on her part even after Newton expressed her frustration at not being included in the Time’s Up initiative speaks volumes.

Jessica Chastain was the only one in the elite group of White A-listers to publicly acknowledge Newton’s gripe, and her series of tweets basically illustrated the blueprint of White feminism, that’s rooted in maintaining purity in the mud of dysfunction and staunch privilege.

The narrative that packages the mission statement of Time’s Up has been under scrutiny for how it professes to be applicable for industries across the board with the promise of inclusivity for all victims, despite glaring inconsistencies.

White Hollywood is controlling the messaging of its worst kept secret, with high-profile projects that are capitalizing on the viability of White pain, and the White women who survived to sell their stories.

This isn’t an attempt to minimize the suffering of those who rightfully sought justice and are assisting to do the same for others who deserve similar victories.

Perhaps Bombshell and other similarly-themed offerings, that are geared towards a specific audience, might not have worldwide appeal because of how they exclude the worthiness of Black and Brown women, who can’t compete with the potency of White feminism, that’s fueled by the machine of high-visibility and unwavering adulation.

The current formula of storytelling as it pertains to women’s movements and the relatability of those events can’t be restricted to the interpretation of White Hollywood.

Unless you want it to bomb.

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