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Paramount CEO Refuses To Remove Politically Incorrect Content: ‘You Don’t Have to Watch’

Paramount refuses to join other companies who have deleted old content because new viewers find it problematic

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Paramount CEO Bob Bakish declared that his company will remove old TV shows and movies from its streaming app in response to concerns that it may be offensive by modern woke standards.

Bakish made the statements during a recent interview with The Guardian, and told the website that he did not believe in “censoring art.”

“By definition, you have some thing that were made in a different time and reflect different sensibilities,” Bakish told The Guardian. “I don’t believe in censoring art that was made historically,” he added, “that’s probably a mistake.”

Doubling down, Bakish added that viewers upset about certain scenes in movies or episodes of TV shows should merely avoid the content that triggers them.

“It’s all on demand,” he pointed out to The Guardian. “You don’t have to watch anything you don’t want to.”

One film that critics have cast as problematic is Tropic Thunder, in which Ben Stiller portrayed a black man for the entirety of the comedy flick, and multiple actors used the word “retarded”.

Entertainment website Bounding Into Comics notes that Paramount’s move is a departure from other major streaming websites, the politically controversial Netflix.

The outlet reports that Netflix removed a scene from season 9, episode 9 of The Office, and “the entirety of the 14th episode of Community’s Second Season,” because some viewers found the comedy offensive due to blackface jokes.

Tiney Fey soon joined the call to memory hole politically incorrect humor from recent history, and “requested multiple episodes” of 30 Rock be altered or pulled due to blackface.

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The outlet adds that Cartoon Network’s Adult Swim also “permanently retired” multiple episodes across multiple series due to concerns viewers would find the content racist.

Formerly ViacomCBS, Paramount is the parent company behind CBS, MTV, and Nickelodeon, and owns the Paramount Pictures movie studio that saw unprecedented success with the recent release of Top Gun: Maverick.

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Tom Pappert is the Editor-in-Chief of Valiant News. He has worked in political news and commentary since 2015, when he began supporting Trump on a left wing college campus. You can follow him on Twitter @realTomPappert, on Gab @realGodEmperorTrump, on Facebook at Tom Pappert, or see his other social media by visiting tompappert.com. Tips can be sent securely to [email protected].

8 Comments

8 Comments

  1. Avatar

    SmartJob1

    June 27, 2022 at 5:44 pm

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  2. Avatar

    K. Michael Williams

    June 27, 2022 at 7:08 pm

    You name Ben Stiller… The white actor portraying a Black man in Tropic Thunder is Robert Downey Jr. ?…

    • Avatar

      Elaine Radloff

      June 28, 2022 at 7:00 am

      Yes, Robert Downey Jr. portrayed a black man while Ben Stiller was in the scene with Downey in a discussion about “retarded”.

  3. Avatar

    JOHN MAYOR

    June 27, 2022 at 7:36 pm

    People, we need a Federal INFORMATION Commission/ FIC (something that we don’t have!)!… to transcend Kamala Harris’ recently announced new White House Task Force to Address Online Harassment and Abuse… and rather than give the Constitutional breaching and UDHR breaching Federal COMMUNICATIONS Commission/ FCC (SOLELY RESPONSIBLE FOR MAINTAINING– IN PART!– CORPORATE FAUXIAL MEDIA COMPLIANCE WITH COMMUNICATIONS INFRASTRUCTURAL PREQUALIFICATIONS!… AND NOT FOR THE “INFORMATION JACKING”/ “INFO JACKING” OF THE CONTENT OF AMERICANS’ FREE SPEECH!) a further opportunity to violate it’s̲ CONSTITUTIONALLY PRESCRIBED MANDATE! PROPERLY GOVERNING Free Speech… under the Life/ Security of the Person wordings of the Constitution/ UDHR!… should be under the scope of a Federal INFORMATION Commission/ FIC (equipped, with Behavioural Sciences skill sets… e.g., INTRApersonal and INTERpersonal Intelligence [i.e., the “3 I{s}”], and Forensic Sociocybernetics… but, etc.!)! Heck, Federal, State and Local Police Agencies/ Services use such skill sets to profile the “bad guy”… SURELY, we can equip an FIC with the skill sets necessary to address Human Information Rights withunder Human ICT Rights (the latter, also including Human Communications Rights/ Human Carrier Rights; and ICT, an amalgam of Human Digital Rights and Human Analog[l] Rights… and ALL under HUMAN RIGHTS!)! In fact, the FCC should be equipped to handle Human Communications Rights (Digital and Analog[l]… and e.g., Access and Privacy issues!)!… AND NOT THE WEBIZEN INFORMATION CONTENT BEING CARRIED/ COMMUNICATED! Access and Privacy on one’s PC or cellphone– for example!– are CARRIER ISSUES… NOT, INFORMATION CONTENT ISSUES (though, paradox[icly], and iron[icly], carrier-communicated and/ or carrier-uncommunicated “carrier information” is pivital to either facilitating or denying Access to a CARRIER DEVICE, or facilitating or denying a Privacy breach of a CARRIER DEVICE… however, the Access or Privacy breach could be based upon a decision involving one’s INFORMATION CONTENT!… but, nevertheless, a webizen’s “INFORMATION CONTENT” and “CARRIER INFORMATION” are two distinct information concerns; and hence the expression, INFORMATION & COMMUNICATION[S] TECHNES!)! In other words, only half of our ICT concerns are being properly dealt with!
    .
    On one side of the ledger, the FCC should be addressing Human COMMUNICATIONS Rights (i.e., “carrier information” that/ which is specific to ANY ASPECT of the RIGHTFUL Carriage of webizens’ “information content”), and on the other side of the ledger, an FIC, should be addressing Human INFORMATION Rights (i.e., webizens’ “information content” that/ which is specific to ANY ASPECT of the WRONGFUL denial of/ inteference in the Carriage of webizens’ “information content”… including, carrier info!)! And all of which, must be set upon a Constitutional/ UDHR BALANCE between Free Speech/ Press Freedom and Constitutional/ UDHR Life/ Security of the Person provisions!
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    Incidentally, ICT would be best expressed as, GEMÓDEDO (for “full data”… data, the plural of datum) & DICARRIER (DUOCARRIER… i.e., Digital and Analog[l]) TECHNES/ GDT… to: a) express the dual aspect of the GEMÓDEDO being managed; b) express the dual aspect of the means whereby GEMÓDEDO is sent and received; and c) express the fact that there are two aspects of GEMÓDEDO and CARRIER “TECHNES (NOT ‘technologies’, or ‘studies of technes’!)” managed, sent and received on behalf of all webizens!
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    See, https://en.wikipedia.org/wiki/Datahttps://en.wikipedia.org/wiki/Information… and https://en.wiktionary.org/wiki/information#English
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    See, https://biblehub.com/greek/1073.htm (γέμω/ gemó, for “to be full” and “filled”… GEMÓDEDO, not to be confused with the abused [and less than Greek!] expression, “metadata”… or the correct Greek expression, metadedo… see, μετά/ meta, for “after with” and “change afterward” [see also, bit.ly/3JQXjuw] and, δεδομένα/ dedoména and δεδο/ dedo, for data).

  4. Avatar

    JOHN MAYOR

    June 27, 2022 at 8:04 pm

    This “Manufactured Consent (and Dissent… against ‘blackface’!)” reminds me of a Hollywood film, White Chicks, staring “black actors” Shawn Wayans and Marlon Wayans, who play FBI Agents who apply “White-face” and dress up as women (and hence, the movie’s name), in order to catch their targeted suspects.
    .
    It would appear that “someone” wants us to Consent to Dissent against Blackface… and, at once, accept the hypocrisy of allowing 2 black actors to wear “White-face”. “Someone” is addicted to hypocrisy/ double standards!… and, “somebody” wants us to bend or break the truths inhere in “COLOURISM”!
    .
    Al Jolson (born Asa Yoelson; 9 June [O.S. 28 May] 1886 – October 23, 1950) was a Russian-born American singer, comedian, and actor. Jolson has been dubbed “the king of blackface” performers, a theatrical convention since the mid-19th century. He was also dubbed “The World’s Greatest Entertainer” at the peak of his career. His performing style was brash and extroverted, and he popularized many songs that benefited from his “shamelessly sentimental, melodramatic approach.” In the 1920s, Jolson was America’s most famous and highest-paid entertainer.
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    Although best remembered today as the star of the first talking picture, The Jazz Singer (1927), he starred in a series of successful musical films during the 1930s. After the attack on Pearl Harbor in December 1941, he was the first star to entertain troops overseas during World War II. After a period of inactivity, his stardom returned with The Jolson Story (1946), for which Larry Parks played Jolson, with the singer dubbing for Parks. The formula was repeated in a sequel, Jolson Sings Again (1949). In 1950, he again became the first star to entertain GIs on active service in the Korean War, performing 42 shows in 16 days. He died weeks after returning to the U.S., partly owing to the physical exertion of performing. Defense Secretary George Marshall posthumously awarded him the Medal for Merit.
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    According to music historian Larry Stempel, “No one had heard anything quite like it before on Broadway.” Author Stephen Banfield wrote that Jolson’s style was “arguably the single most important factor in defining the modern musical”.
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    With his dynamic style of singing jazz and blues, he became widely successful by extracting traditionally African-American music and popularizing it for white American audiences who were otherwise not receptive to the originators. Despite his promotion and perpetuation of black stereotypes, HIS WORK WAS OFTEN WELL-REGARDED BY BLACK PUBLICATIONS AND HE HAS BEEN CREDITED FOR FIGHTING AGAINST BLACK DISCRIMINATION ON BROADWAY (see, “Was Al Jolson ‘Bamboozled’?”, Robert F. Moss, October 20, 2000, Los Angeles Times) as early as 1911. In an essay written in 2000, music critic Ted Gioia remarked, “If blackface has its shameful poster boy, it is Al Jolson”, showcasing Jolson’s complex legacy in American society. – en.wikipedia.org/wiki/Al_Jolson#cite_note-latimes2000-1
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    ~~~~~~~~~~~~~~~
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    Many in the black community welcomed The Jazz Singer and saw it as a vehicle to gain access to the stage. Audiences at Harlem’s Lafayette Theater cried during the film, and Harlem’s newspaper, Amsterdam News, called it “one of the greatest pictures ever produced.” For Jolson, it wrote: “Every colored performer is proud of him.” [Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot, Michael Rogin, UofC Press, 1996, p. 197.] – en.wikipedia.org/wiki/Al_Jolson#cite_note-latimes2000-1
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    ~~~~~~~~~~~~~~~
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    Jolson’s legacy as the most popular performer of blackface routines was complemented by his relationships with African-Americans and his appreciation and use of African-American cultural trends. Jolson first heard jazz, blues, and ragtime in the alleys of New Orleans. He enjoyed singing jazz, often performing in blackface, especially in the songs he made popular such as “Swanee”, “My Mammy”, and “Rock-a-Bye Your Baby with a Dixie Melody”.
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    As a Jewish immigrant and America’s most famous and highest-paid entertainer, he may have had the incentive and resources to help improve racial attitudes. While The Birth of a Nation glorified white supremacy and the KKK, Jolson chose to star in The Jazz Singer, which defied racial bigotry by introducing black musicians to audiences worldwide.
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    While growing up, Jolson had many black friends, including Bill “Bojangles” Robinson, who became a prominent tap dancer. As early as 1911, at the age of 25, Jolson was noted for fighting discrimination on Broadway and later in his movies. In 1924, he promoted the play Appearances by Garland Anderson which became the first production with an all-black cast produced on Broadway. He brought a black dance team from San Francisco that he tried to put in a Broadway show. He demanded equal treatment for Cab Calloway, with whom he performed duets in the movie The Singing Kid.
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    Jolson read in the newspaper that songwriters Eubie Blake and Noble Sissle, neither of whom he had ever heard of, were refused service at a Connecticut restaurant because of their race. He tracked them down and took them out to dinner, “insisting he’d punch anyone in the nose who tried to kick us out!” According to biographer Al Rose, Jolson and Blake became friends and went to boxing matches together.
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    Film historian Charles Musser notes, “African Americans’ embrace of Jolson was not a spontaneous reaction to his appearance in talking pictures. In an era when African Americans did not have to go looking for enemies, Jolson was perceived a friend.”
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    Jeni LeGon, a black female tap dance star, recalls her life as a film dancer: “But of course, in those times it was a ‘black-and-white world.’ You didn’t associate too much socially with any of the stars. You saw them at the studio, you know, nice—but they didn’t invite. The only ones that ever invited us home for a visit was Al Jolson and Ruby Keeler.”
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    British performer Brian Conley, former star of the 1995 British play Jolson, stated during an interview, “I found out Jolson was actually a hero to the black people of America. At his funeral, black actors lined the way, they really appreciated what he’d done for them.”
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    Noble Sissle, who was president of the Negro Actors Guild, represented that organization at his funeral.
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    Jolson’s physical expressiveness also affected the music styles of some black performers. Music historian Bob Gulla writes that “the most critical influence in Jackie Wilson’s young life was Al Jolson.” He points out that Wilson’s ideas of what a stage performer could do to keep their act an “exciting” and “thrilling performance” was shaped by Jolson’s acts, “full of wild writhing and excessive theatrics”. Wilson felt that Jolson “should be considered the stylistic [forefather] of rock and roll.”
    .
    According to the St. James Encyclopedia of Popular Culture: “Almost single-handedly, Jolson helped to introduce African-American musical innovations like jazz, ragtime, and the blues to white audiences… [and] paved the way for African-American performers like Louis Armstrong, Duke Ellington, Fats Waller, and Ethel Waters… to bridge the cultural gap between black and white America.”
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    Amiri Baraka wrote, “the entrance of the white man into jazz… did at least bring him much closer to the Negro.” He points out that “the acceptance of jazz by whites marks a crucial moment when an aspect of black culture had become an essential part of American culture.” – en.wikipedia.org/wiki/Al_Jolson#cite_note-latimes2000-1

  5. Avatar

    John S

    June 28, 2022 at 7:26 am

    Please try to do a better/more thorough proof read/edit before posting your articles. This one is full of errors. The first paragraph says they will censor content. You have many missing words in several paragraphs that completely change the meanings of those paragraphs. You call Tina Fey “Tobey Fey”. You say Ben Stiller played character in Black Face in Rolling Thunder when it was Robert Downey Jr. Please get your stories checked.

    • Avatar

      John S

      June 28, 2022 at 7:31 am

      “Tiney Fey”

  6. Avatar

    David Franklin

    June 30, 2022 at 1:49 pm

    Apparently, people who are woke have never been taught to use the off button or the change the channel button. So instead of learning this extremely simple operation, they want the rest of us to not be able to watch movies and shows we might enjoy.

    This is what happens before a Communist revolution takeover. They execute a few million who they disagree with and then reeducate the remainder.

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