Here's an excerpt from his first:
Hollywood has become such an echo chamber for left-wing political causes that conservatives there think of themselves as Christians in pre-Constantine Rome; they complain of being attacked verbally for being “stupid,” and, irony of ironies, even blacklisted.
It’s a chicken-and-egg debate whether studios and producers know that they can’t get any A-list stars for a traditional, America-loving movie and so don’t even try, or whether these projects don’t exist because Hollywood doesn’t even think that way anymore.
In any event, this public violation of the compact between star and audience has had an insidious, trickle-down effect even on films that steer clear of politics. (See, for example: Julia Roberts’ career and paycheck in the decade since she said Republican falls in the dictionary between reptile and repugnant.) So when a movie like 2016 comes along—a documentary, no less—and expresses a message antithetical to mainstream Hollywood but is beautiful music to mainstream America, mainstream Hollywood has to come up with an explanation that preserves its moral vanity. And it does: racism.
Thus, Hollywood will continue committing suicide by a thousand cuts…and independent producers who manage to raise the money, as D’Souza did, for movies that appeal to the great unwashed may very well find it vastly easier to sign deals with distributors and exhibitors who are in business, after all, to make money.
Read the whole essay here: 2016 May Bring Good Things