This has been a big week for conservatives weighing in on le cinema, what with, for one thing, National Review's Top 25 Conservative Movies of the past who the hell knows years. I haven't weighed in on the, um, material contained therein, 'cause it's not really my department and all (UPDATE: see here for a far more expert assessment), but rest assured that I was exceptionally tickled by such gems as Kathryn Jean Lopez's I-actually-don't-like-it-at-all-but-it's-still-a-classic-cause-the-chick-in-it-doesn't-get-an-abortion assessment of Juno, and Michael Long's not-naming-names-because-there-actually-aren't-any observation apropos The Edge, "[s]ome have interpreted the film as a Cold War allegory because it features a menacing bear." Hilarious, and believe me, there's more, including an elsewhere noted write-up of Master and Commander that's all, "see, even a liberal like A.O. Scott can recognize this movie's conservatism!" And indeed he can. I should note the list actually highlights far more good movies than bad, which is nice.
But, more to the point, the week also brought "A Report to the Industry" by culture warriors Ted Baehr and Tom Snyder (not the dead one), and it is from their February 12 Wall Street Journal piece, "A Hollywood Stimulus Plan: Make More Uplifting Movies," that I extract the nugget of perplexity which inspires this post's hed: