Ewan McGregor Is The Most Pathetic Man Alive
Portrait Of An Abusive Relationship
“I've justified this to myself in all sorts of ways. It wasn't a big deal, just a minor betrayal. Why did I do it? I could offer a million answers — all false. The truth is that I'm a bad person. But, that's gonna change. I'm going to change. Now I'm cleaning up and I'm moving on, going straight and choosing life. I'm looking forward to it already. I'm gonna be just like you!” — Mark “Rent Boy” Renton, played by Ewan McGregor, in Trainspotting
“I’m not who I used to be.” -- Ben Kenobi, played by Ewan McGregor, in the Disney+ series Obi-Wan Kenobi
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Let’s make a collapsing career case study of poor, pathetic washed-up wanker weakling Ewan McGregor, once one of quality cinema’s most promising young actors, now among its most clearly compromised mouthpieces in the Hollywood Hack Horror show. To recap the past couple years:
2020: Ewan McGregor is cast as the crime lord villain in the DC superhero Girlboss flop Birds of Prey. It’s directed by yet another (all together now!) diverse PoC woman with zero studio experience, China-born and Northern Virginia-raised man-hating globalist operative Cathy Yan. McGregor said he took the “important” role of a comic book gangster not because an actress he’d been having an affair with for years was the co-star, but because “It’s a feminist film. The script takes a real look on misogyny, and I think we need that. We need to be aware of how we behave with the opposite sex. We need to be taught to change.”
Speak for yourself, Ewan. I wasn’t the one out canoodling in public with a sexy co-star while I was still married, the way you did with Birds of Prey co-star Mary Elizabeth Winstead (now Ewan’s wife). Just because YOU know that YOU are a misogynist and need to change, don’t lean into such insufferable narcissism that you extrapolate YOUR inner disrespect of women upon all society. Real Men only disrespect the death-obsessed, child-hating Lilith-worshippers!
The embarrassingly un-self-aware McGregor also declared that Birds of Prey “is very finely written. In the movie’s dialogues, there is always a hint of everyday misogyny, of those things you say as a man you do not even realize. It’s one of the smartest screenplays I’ve ever read. It’s brilliant.”
Let us duly note that no other person on the planet other than a few shady movie reviewers has ever asserted that Birds of Prey has a decent script, much less a “brilliant” one. Which is no surprise once you learn Birds of Prey was plunked out by the atrocious no-talent typist (not actually a “writer”) Christina Hodson, another Asia-born dual citizen (UK/Taiwan), who also crapped out screenplays for DC’s notorious they/them bomb The Flash and the even more notorious aborted Batgirl flick, the latter a money-pit movie so incompetent that Warner Bros. took the tax write down in lieu of releasing it.
Just a couple Birds of Prey review snippets, culled from non-corporate media opinions on Rotten Tomatoes, centered around Ms. Hodson’s script:
> Cinegarage’s Erick Estrada: “The movie is so badly written it manages the impossible: to make us dislike Margot Robbie.”
> My Champlain Valley’s Julia Swift: “This violent film has such an atrocious screenplay that I laughed when it was serious and was annoyed when it attempted humor. Why do some women filmmakers think the only way to be successful is to imitate guys?”
> News International’s Sameen Amer: “Various [plot] threads of the scattered story don't come together seamlessly; a better script would have significantly helped. The film’s vibe and humor feel try-hard, and the crazy criminal characters are hard to sympathize with. ”
We’ll even give the last word to a rare Establishment critic (78% positive!) who didn’t like Birds of Prey, the U.K. Times Kevin Maher: “There is not a single moment in the screenplay that elevates the proceedings above a crappy, screechy, second-rate cartoon hodgepodge.”
There’s more about how terrible talentless Christina Hodson’s screenplay is despite McGregor’s endorsement; you can find it if you look, along with a few embarrassing raves from ideologues passing themselves off as movie reviewers (not film critics!), who extol Birds of Prey because of the “positive energy of a female-centric comic book movie that’s made by women,” while completely ignoring the far more relevant cultural question, posed by legendary film critic Leonard Maltin: “Nihilistic, grim and overlong, is this loud, garish, super-violent content really considered a step forward for women, behind the camera and in the audience? I sincerely hope not.”
#MeToo, Mr. Maltin! But it doesn’t seem that way in hell-bent Hollywood’s race through the bottom of the bitch boss barrel.
As an example of Hollywood’s “Damn the torpedos, we hate you and we’ll sink this whole shit show if we have to,” five-thumbed multiple-failures screenwronger Christina Hodson has recently been tapped to type words for Disney’s new female-centric Pirates of the Caribbean bomb-to-be spinoff without Johnny Depp, as well as getting recruited by James Gunn to be one of the small number of narrative guides in the writers’ room for Gunn’s rebooted DC Film Universe (just in case you held any slim hope that Gunn was going to save the day: He isn’t).
All of Hodson’s off-putting female protagonists have one thing in common: They all exhibit abrasive and unlikable behaviors that would quickly be classified as “toxic” if they came from men. This is a hallmark of the Girlboss “modern audience” trope: The female characters are women in name only; all their profane dialog, vicious actions, irresponsible behaviors and rude manners are exactly the same as what crazy liberal white women and their estrogenized male-ish simps would define as “toxic masculinity.”
Case Study Digression: Have you seen the Fugazi new season of True Detective: Night Country? Both the female protagonists are written as if they were detestable dickhead men: Vulgar, violent, petty, cynical, caustic, grudge-holding, casual sex-driven. I’d say the first syllable of the fourth word in the title sums it up nicely. Like all the failures in the seemingly never ending parade (or funeral procession) of “reimagined” properties for “modern audiences,” True Detective’s creator and prior show-runner Nic Pizzolatto (poor Nic Pizzolatto!) was ignominiously replaced for this new season by a non-American diverse PoC woman (this one from Mexico), Issa López, who’d never done anything in an English-speaking market. She sucks. It sucks. Hollywood sucks.
Over its five episodes (of six) to date, True Detective: Night Country has degenerated from Mediocre-But-Potentially-Promising to Bad, and it’s trending straight towards Embarrassment, with Mexico’s overmatched import Ms. López’s clank-y scripts thus far offering little hope of anything but a crash landing. The one noteworthy thing about this craptastic lemon is that I’ve never seen Jodie Foster give a bad performance…until now. She is completely unconvincing as a hard-boiled sheriff.
Anyway, back to washed-up Ewan McGregor during the Birds of Prey days. When McGregor was challenged on his claims that male superhero fans were mostly misogynists (challenged on social media and blogs that is; all members of the controlled corrupt collectivist corporate criminal clown media cheered him on), McGregor doubled down, insisting to Jimmy Fallon that: “It’s about time that we’ve got this female-made, female-driven, female-centric superhero movie. It’s such a powerful film, a film that covers some of the misogynist nonsense that you ladies have to deal with on a daily basis.”
Ultimately, because the movie sucked and ran one of those recent deranged marketing campaigns that insulted a goodly portion of its potential young male audience by labeling them as misogynists, Birds of Pray was one of the first canaries in the multiplex to chirp out a warning that a male-bashing Girlboss superhero strategy was not a smart path to take. Birds of Prey became the first DCU flick to fail to gross $100 million domestically in more than a decade and lost at least $100 million for Warner Brothers (per Variety).
Next up for the over-opinionated hypocrite Ewan McGregor, who called us all misogynists while the married dad was secretly banging his likewise married co-star, was a much-anticipated return to the Star Wars role of Obi-Wan Kenobi in the soul-sucking Disney+ disaster capitalizing upon the titular Jedi’s brand name. The series was a catastrophic inversion, flaunting all the usual Disney Star Wars demoralization disaster decisions. It made Ewan McGregor lash out.
All six episodes of Obi-Wan Kenobi were directed by diverse non-American PoC woman and dual citizen (Canadian/Chinese) Deborah Chow — an unmarried and childless female fireplug of limited-to-no-talent who went on to show-run the hilariously terrible Disney+ flop She-Hulk — the guy ostensibly named Obi-Wan but who didn’t act anything like the Obi-Wan we knew became a sad supporting putz in his own show, defeated and demoted behind a dull diversity Girlboss: The black badass Jedi-hunter with a ridiculous redemption arc, Ree-Va, a cardboard prop of a character obviously intended to replace fired Mandalorian co-star Gina Carano in fans’ hearts. That proved as successful as every other eye-rolling bait’n’switch from Disney (remember the unwatchable anti-American National Treasure “re-imagining,” featuring the hawt illegal alien and her diverse crew of cloying yet forgettable D.E.I. sidekicks? No one does.).
Unfortunately for the W.E.F. and Disney shareholders, nobody liked the dull diversity Girlboss Ree-Va from Obi-Wan Kenobi, monotoned and dead-eyed. She had all the personality and screen magnetism of a turnip. The latest in an interchangeable assembly line of boring masculinized anti-heroines, Ree-Va was a dud. What the story did to Obi-Wan Kenobi was insulting. So of course that show sucked and flopped too.
Searching for scapegoats — All hands on deck! Red alert! — Disney trotted out pathetic puppet Ewan McGregor ASAP to blame the audience. Big Mc, looking flustered and a little panicked, self-shot a lamentation from behind the wheel of his car as terrible Obi-Wan reviews were trending on Twitter. The typecast villains, as usual, were “racist Star Wars fans.” Ewan McGregor told them: “You’re no Star Wars fans in my mind,” and subtextually suggested they all get lost.
McGregor and the black woman who woodenly played Ree-Va with the screen charisma of a diseased tree trunk, claimed she got buried in racist and bigoted hate messages from “toxic fans.” But, as usual, we only have their claims this was happening. The (very very) few racist social media messages shared with the public were 100% anonymous and could have easily been manufactured in Disney’s monster PR machine, just like how the CEO of HBO Casey Bloys got busted for using fake Twitter accounts to manipulate opinions and troll critics of his network’s programming and executives.
So I don’t think anybody actually hated the black woman playing Ree-Va for being black. They just hated the lame one-dimensional character and the awful droning performance from the diversity-hire amateur-hour actress parroting her lines on the TeeVee while overshadowing the iconic male hero that made audiences want to watch the show in the first place.
Didn’t matter. The Official Story™ continued to spin and craft a narrative that Star Wars’ legacy fans were mostly racist white guys, and this racism was the reason Obi-Wan Kenobi — the biggest slam-dunk in Disney+ history, trans-formed into a brick — was failing. For some crazy reason, gaslighting and scapegoating the potential audience for the show wasn’t turning out to be a winner.
“Blame the fans!” and the “toxic fans” oxymoron have been a misbegotten marketing strategy since Day One. Yet it’s not surprising, considering it came from the marketing/advertising sphere, a quintessential collection of half-formed broken souls who aren’t nearly as smart as they think they are and hold the public in bottomless contempt (I’ve heard two people use the term “useless eaters” non-ironically in my life; one of them is on the Board of the Advertising Council), while simultaneously thinking they can craft a mirror-world Reality rooted in lies.
Fake realities only work, however, if the targeted subject doesn’t actually have to deal with that so-called “reality.” Example: The Bo Xiden fakeministration can convince a small-but-influential minority of True Believers that there’s no problems at the border, but if the TB’s were to drive to look for themselves, that opinion would be vanquished immediately.
In that same way, people will only believe “Star Wars/Marvel/Disney/DC fans are inherently racist!” until they see their third, fourth, fifth, tenth Star Wars/Marvel/Disney/DC piece of product in a row that stinks. At some point, most people do believe their eyes instead of what the corrupt corporate media and an army of social media bots/shills oppositionally insist. Ultimately, the chickens and buzzards come home to roost, no Birds of Prey pun intended.
And that, ladies & gentlemen, friends & enemies, allies and enemas, is where poor pathetic Ewan McGregor finds himself nowadays, his reputation tarnished, his legacy ruined, his career clearly on a steep downward trajectory towards episodic television. Reality has finally caught up with the spin, hype, secrets and lies of his blemished career over the past near-decade, as McGregor is left without a lucrative franchise or iconic character to fall back upon. Birds of Prey plucked and cooked. Obi-Wan Kenobi forever stained as a doom-y doormat punch line. The inferior T2: Trainspotting sequel quickly forgotten, no T3 is sight.
Which brings us 180° to the backpedaling abasement and full-on pleading-in-public humiliation and ululations of washed-up Ewan McGregor last week, onstage at Florida’s Comic-Con knockoff MegaCon, where the actor said he was “very happy” with the way the Obi-Wan Kenobi series turned out out. Right before he admitted a second season was uncertain at best and begging “Everyone: Write to Disney. I’ll give you some email addresses at the end [of this interview]. Just write: ‘Dear Disney, let’s have another. Let’s have a bit more of Obi-Wan Kenobi, please!’”
Dude. Dude. DUUUUUUUDE!!! Seriously: Go. Flunk. Yourself. This is the dialog and attitude of a serial abuser — insult, gaslight, demoralize, then beg for one more chance. You’ve spent the past six years slamming and scapegoating innocent people who pay their hard-earned money to see you pretend to be somebody else, before it blew up in your face like a lesbian gender-reveal glitter bomb, so now you’re crawling back like the churchgoing cheerleader who got gang-banged by the football team. No thanks on your sloppy seconds. Or twenty-seconds. You’re the Order 66 of mealy-mouthed sellouts.
And yet…and yet…The craziest thing is that Disney Star Wars is so focked-up and its studio overseer Kathleen Kennedy so mentally ill, the powers-that-be may well green light a second Obi-Wan Kenobi season simply out of spite. That’s how much these low I.Q. penis-envying bubble-life cat lady weirdos casting their wicked witchcraft spells inside Disney to corrupt the nation’s youth blatantly hate the “non-modern audience” that made up the vast majority of their customers until the past couple years. The relentless condescending animosity from the rat kingdom CurrenThing psychopaths, combined with years of dumpster fire garbage products, finally led Americans to pull the ripcord.
So no victory lap from me, just a few more shovels of dirt and horse dung on the cascading career of weaselly Ewan McGregor, a talented actor I was always meh about, so no problem if he goes away forever or ends up slumming around on Law & Order: Londonistan — Every week there’ll be a gruesome murder of a promising, good-looking, intelligent and courteous young British gentleman by a gang of recently imported illegal immigrants from Pakistan or Nigeria, and McGregor’s alcoholic cop character will spend 50 minutes lamenting how the Native Brits unwillingness to accept diversity is forcing the misunderstood invaders to kill them.
Smart money says Mary Elizabeth Winstead makes sure his co-star is a black, talentless, androgynous-looking lesbian. Named Ree-Va? Hmmmm…
Another sad story. Kinda feels like a soundtrack from Groundhog Day.
Dont you think Ewan is actually just one example of all Hollywood now? No remaining integrity (sorry if I missed you say that).
I think if we’re going to keep paying attention it will require adjusted expectations. 🤡
As I’m sure you know, the obtuse thing about evil is it has no clue of its long term demolishing effects on *itself*.
They actually believe they can devour all things good & true and then just sale along forever blissful in their chosen vices. They don’t perceive how evil is unsustainable.
All the truly talented industry ppl who actually know how to produce something actual humanity w integrity can value have compromised (🙌🤘), bailed out, or been murdered. Probably murdered.
The remaining shapeshifters think their “artistic” angle benefits their agenda. Wrong. Now they’re just screwing themselves, gnawing on a hallowed out shell of a system that always was compromised but at least had enough actual humans contributing to pretend to have soul. Same with journalism right?. And politics. And education. And economics. And….(fill in remaining seven pillars).
I keep thinking, it’s like HW and the whole world is playing out an even darker version of Twilight Zones “To Serve Man” epi
…which ironically YT took down last I checked. Of course.
Very few will face that we really are witnessing the fall of Rome 2.0 ⚰️
Brilliantly written! EM is a chameleon, he's played roles, that I never spotted him in. Not uncommon for folks, in popular roles, to think that audience appreciation of their role is a reflection of their personal greatness. Once divorced from their screen or pop charisma, they soon fade into obscurity, especially when they start instructing us on how we should think and behave....