The Hollywood Elite  refer to President as a big, orange airhorn who’s giving the GOP swamp and all the Democrats such fits. Who are some of these famous air-head celebrities? 

Meryl Streep,
Michael Moore,
Jon Stewart*,
Sean Penn,
Cher*,
Susan Sarandon.
Stephen Colbert,
Ashley “Nasty” Judd,
Seth Myers,
Samuel L. Jackson*,
Martin Sheen,
Jimmy Kimmel,
Matt Damon,
Danny Glover,
Barbra Streisand,
Jane Fonda,
Arnold Schwarzenegger,
Kate McKinnon,
Joy Behar,
Whoopie*,
Alec Baldwin,
Sarah Silverman,
Beyonce,
Oprah,
Jennifer Lopez,
Bruce Springsteen,
Rosie O’Donnell*,
Brad Pitt,
Jennifer Aniston,
Julianne Moore,
Julia Louis-Dreyfas,
Robert De Niro,
Cynthia Nixon,
Judge Ruth Bader-Ginsburg* who promised to move to New Zealand,
Billy Joel,
Lady Gaga,
Jon Bon Jovi,
Amy Schumer*,
Gary Trudeau,
Amal and George Clooney,
Drew Barrymore,
Stephen Spielberg,
Helen Hunt,
Scarlett Johansson,
Jennifer Lawrance*,
Natalie Portman,
Tea Leoni,
Eva Longoria,
Justin Timberlake,
Nicole Richie,
Alica Keys,
Miley Cyrus,
Charlize Thereon,
Leonardo DeCaprio,
Jessica Biel,
Jamie Lee Curtis,
Olivia Wilde,
Jason Sedakis,
Lily Tomlin,
Billy Crystal,
Tina Fey,
Michelle and Barack Obama,
are people who tried to and are continuing their work to blackball Donald Trump from the presidency after he was elected. These people want a left wing big government that works against the people. They’re the modern era practitioners of  ‘totalitarian, Fascist, Communist or subversive practices against Republicans, conservatives, members of the political Right and especially towards elected Republicans. These people think America was founded by immigrants, not settlers, who may have immigrated but unlike the immigrants who didn’t like America or who refused to assimilate,  the settlers supported individual rights, personal Liberty, small government and freedom like no other nation on earth ever did. Hollywood types live in a bubble, a left-wing Hollywood fantasy never-never land completely out of touch with America and thinking Americans. Conservative Tim Allen said: “This is like ’30s Germany. I don’t know what happened,” he explained. “If you’re not part of the group, ‘you know what we believe is right,’ I go, ‘Well, I might have a problem with that.’”
The Liberals first line of attack is: threaten retail stores that carry the Ivanka Trump product line with a boycott if they continued to sell her products. This, of course, does nothing to promote what the left says they care about, but it does expose what they really are: a gang of vapid and petty bullies, drunk on the vindictiveness that now drives the American liberal political machine.
Ivanka Trump’s style and grace, and her likely moderate politics, put the lie to the liberal arguments against her father, which amount to the most juvenile of character assassinations. Moreover, someone like Ivanka Trump should be on their side, but she’s not. That upsets them because instead of Ivanka, they get Rosie, Ashley “Nasty Woman” Judd and, well, Hillary Clinton.
The more uncomfortable reality is that the culture war is an ongoing liberal rout. Hollywood is more liberal as ever, and conservatives simply elected Republicans because they know the futility of changing the left wing Liberal swamp.

How did the Left get so Left? New York Magazine explains: When Upton Sinclair waged a populist campaign for governor of California in 1934, as Ron Brownstein recalls in his 1990 political history of Hollywood, the studios bombarded him with a mass propaganda campaign. They distributed statewide phony “newsreels” of contrasting interviews with supporters of Sinclair and his Republican opponent, Frank Merriam. As the old liberal feminist establishment continues their melt-down into irrelevance, smearing women they deem the enemy, the future belongs to people like Ivanka Trump, Melania Trump, Emily Ratajkowski, Joy Villa, Andre Soriano, and their friends and supporters. These radical nonconformists are the authentic feminists, the genuine heroes, and bravely free individuals.
In the forties, a faction of Hollywood conservatives formed the Motion Picture Alliance for the Preservation of American Ideals. Its purported role was to suppress the phantasmal threat that Communists would “pervert this powerful medium into an instrument for the dissemination of un-American ideas and beliefs.” In reality, the Alliance wanted to organize the moguls as a reactionary business organization. It distributed to studios a Screen Guide for Americans, instructing them, in minute detail, how to apply ideological filters to their movies. To write its guide, the Alliance hired a Russian-immigrant screenwriter with deep ties to the Hollywood right—Ayn Rand. Her youthful brush with communism had left Rand with, among other things, a formative belief in the power of culture as a medium of propaganda.

The Screen Guide warned that Communists operate not through open advocacy but by slipping subtle messages into their scripts. “Their purpose,” the Screen Guide wrote of Communists, “is to corrupt our moral premises by corrupting nonpolitical movies—by introducing small, casual bits of propaganda into innocent stories.” Their primary method, according to the Screen Guide, was by portraying the rich in a negative light. It warned the studios not to permit negative portrayals of industrialists. “Don’t spit in your own face or, worse, pay miserable little rats to do it. You, as a motion-picture producer, are an industrialist.” It likewise warned them not to “deify ‘the common man’ ”: “if anyone is classified as ‘common’ … It then means he has no outstanding abilities, no outstanding virtues, no outstanding intelligence.”

The studios never fully embraced Rand’s vision of the film industry as a united front of industrialist class solidarity. But, for fear of inciting charges of communism, they did carefully limit themselves to culturally inoffensive themes. This is the period conservatives are thinking of when they gaze out at a cultural landscape they once ruled, and in which they have become strangers. As Tony Soprano famously asked, “What ever happened to Gary Cooper?” (Cooper, as it happens, was a prominent supporter of the Motion Picture Alliance for the Preservation of American Ideals.)

By the fifties, the studio system was disintegrating, as had the moguls’ blunt control. The Alliance’s Screen Guide is interesting as an alternative vision of how the industry might have developed had the moguls maintained their grip and fashioned their medium into an instrument of ideological and political self-interest. Liberals may have come to view film as a hated propaganda organ, like Fox News. In this alternative world, greedy Muppet studio-seizing tycoon Tex Richman might instead be benevolent, overtaxed small-businessman Tex Jobcreator.

Instead, control of film (and the new medium of television) passed into the hands of people who reinforced, rather than censored, the left-leaning proclivities of their creative staff. Since the sixties, Hollywood has become an almost uniformly Democratic industry. A 1990 survey by University of Texas professor David Prindle compared the political inclinations of “Hollywood opinion leaders” with Americans as a whole. Ninety-seven percent of the Hollywood sample believed “it’s all right for blacks and whites to date each other,” compared with 53 percent of Americans as a whole. Sixty-eight percent of the Hollywood contingent, but only 12 percent of the country at large, supported gay rights. HERE.

Hey Liberal airheads: being famous, ignorant and loudmouthed is not an award-worthy achievement.

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