Jennifer Lawrence and Chris Pratt will be featured as co-leads in the upcoming space romance Passengers. Feminists quickly became giddy when it was revealed that Lawrence ($20 million) would be paid significantly more than Chris Pratt ($12 million), despite the latter increasing his price by $2 million on the back of his rising profile from Jurassic World and other ventures. Because of their anger after the Sony hacking scandal, which revealed the salaries of different Hollywood actors and actresses, feminists have strangely applauded Lawrence taking home a bigger paycheck as a win for “gender equal pay.”
Once again, the moribund logic of SJW activists has been laid bare. Feminists were livid at Jennifer Lawrence receiving less than her male co-stars, Christian Bale and Bradley Cooper, for American Hustle. Such outrage ignored that Bale in particular had been a household name for far longer, going back to his starring roles in films such as The Machinist, American Psycho and Batman Begins in the first half of the 2000s. So if Bale didn’t deserve more than Lawrence for American Hustle, why should Lawrence get more than Pratt for Passengers?
Rich Women Bantering Over Rules They Selectively Follow
The Passengers double standard is just one of many. For example, the Metro article mentions that Charlize Theron demanded a salary equal to Chris Hemsworth for the sequel to Snow White and the Huntsman. One might say that Theron is a more entrenched Hollywood name than Hemsworth, but she certainly lacks the recent “It” factor associated with the burly blond Australian. If the decision were based on present star power and being able to draw cinema-goers to buy tickets, Hemsworth should undoubtedly be paid more than Theron.
Charlize’s recent “hits” have been disappointing, to say the least. She couldn’t have argued for equal pay based on Mad Max: Fury Road (that film came out after her negotiations for The Huntsman). Many of her “best” contemporary films box office-wise, such as Hancock, Snow White and the Huntsman, and Prometheus, have paled in comparison to Hemsworth’s money-raking in Thor, The Avengers, Thor: The Dark World, and Avengers: Age of Ultron. Not only have Hemsworth’s films tended to make more, they have enhanced his profile in a way that just cannot be said for Theron’s recent thespian turns.
Enter Patricia Arquette
When Patricia Arquette, far from a Hollywood front-lister, won a Best Supporting Actress gong at this year’s Academy Awards, she demanded “equal” pay for female actresses. Although you wouldn’t expect a short acceptance speech to include the criteria for determining what is equal and what is not, no subsequent elaboration by her or any other advocate of Hollywood “gender equality” has occurred. And this is deliberate.
Because Arquette and those complaining before her have kept the terms of reference for “equal” pay highly amorphous, actresses like Charlize Theron can demand the same remuneration “on principle” whilst other performers, the Jennifer Lawrences of the world, take home more pay than their now more or less equally famous male co-stars. Both kinds of examples can be falsely subsumed in the overall “gender fairness” category.
Having your cake and eating it, as you would be aware as a consumer of Kings Media, is the modus operandi for feminism. It posits the existence of loosely and poorly defined “rape cultures”, “gender pay gaps” and “patriarchal superstructures” so that females can simultaneously gain parity with men where it is not deserved and institutionally outstrip men where possible. Even multimillionaire female actresses, who earn more than 99.8% of the male and female populations combined, are not immune to this phenomenon. In fact, they take it to still more grotesque proportions. They are eternal victims, too.
We Need A Hollywood GamerGate
The world of gaming is not the only arena being illegitimately shaped to serve feminist narratives. Not only have films like Star Wars: The Force Awakens taken decidedly feminist themes to placate the Sisterhood, the world of acting itself is being progressively forced to bow to the self-serving and highly inconsistent demands of a female-centered ethos.
This cinematic decay must stop. We need a Hollywood Gamergate.