Whoopi Goldberg recently appeared as a guest on “Who’s Talking to Chris Wallace?” on Max where she discussed her experience of co-hosting ABC’s “The View” for the past 17 years. The EGOT winner joined the popular daytime show in 2007. When asked by Wallace if she still enjoys hosting the program, Goldberg admitted that it was a more enjoyable job in the past when people didn’t instantly use her words against her.
Meghan McCain voiced her frustration during a recent meeting for ‘The View’ as she passionately addressed the issue of the wealth gap. In a heated moment, she called on all the attendees to engage with individuals who do not earn a six-figure income. McCain’s outburst emphasized the importance of understanding and connecting with people from different economic backgrounds.
“I preferred the way things were before because back then, people didn’t automatically assume that you had negative intentions or were trying to be mean,” Goldberg expressed. “In the past, if you said something, someone would respond with, ‘Actually, that’s not true,’ and you could adjust your perspective. Or you could explain, ‘Well, this is why I interpreted it that way.’ But now, you can’t do that anymore. Nobody is interested in hearing your thought process. They only focus on what you said, and they assume that defines your entire character. It’s quite disheartening.”
“I feel like nowadays, you constantly have to be cautious about what you say, so as not to upset anyone,” Goldberg expressed.
When asked by Wallace if there’s anything that’s currently bothering her that she would like to discuss, Goldberg responded with a witty remark: “Yeah, but if I tell you, it’s only going to be a problem for you.”
In 2022, Goldberg faced severe backlash when she made a comment during a live episode of “The View” stating that the Holocaust was “not about race.” Although she didn’t provide specific examples, the incident resulted in her temporary suspension from the show. In a subsequent interview with The Sunday Times, Goldberg sparked controversy once again by suggesting that there is division among Jewish people regarding whether they identify as a race or a religion. Additionally, she stood by her previous statement, asserting that the Holocaust “wasn’t originally” about race.
Joe Rogan has some strong words for “The View,” calling it a “rabies-infested hen house” that is widely disliked. He believes that the show has gained a reputation for being controversial and divisive. Rogan’s comments highlight the polarizing nature of “The View” and its ability to stir up strong emotions among viewers.
Goldberg’s remarks sparked widespread condemnation, with Jonathan Greenblatt, CEO of the Anti-Defamation League, voicing his disapproval. In a post on social media, he expressed his deep offense and called the comments about the Holocaust and race both ignorant and offensive.
“When she made similar comments earlier this year, we pointed out that the Nazi regime was inherently racist,” he continued, “Whoopi’s comments demonstrate a complete lack of awareness regarding the diverse and multicultural composition of the Jewish community. She should apologize promptly and make a genuine commitment to educating herself about the true nature of antisemitism.”
Goldberg went on to apologize for her previous comments, acknowledging that she has been learning and taking in all the feedback she has received. She expressed her sincere remorse for upsetting, hurting, and angering people with her remarks about the Holocaust. Goldberg clarified that she believes the Holocaust was about race and reiterated her unwavering support for the Jewish people. In light of the current rise in antisemitism, she wanted to make it abundantly clear that she has always stood with and will continue to stand with the Jewish community.
You can catch the complete interview with Goldberg on the latest episode of “Who’s Talking to Chris Wallace?,” available for streaming on Max.
Review: Mario Van Peebles’ ‘Outlaw Posse’ Offers an Uneven but Diverting Blend of Blaxploitation and Spaghetti Western Tropes
Mario Van Peebles’ latest film, “Outlaw Posse,” delves into a unique blend of genres, combining elements of blaxploitation and spaghetti westerns. The result is an intriguing but somewhat uneven cinematic experience.
Drawing inspiration from classic blaxploitation films of the 1970s and the stylized aesthetic of spaghetti westerns, Van Peebles crafts a narrative that follows a group of outlaws seeking revenge in the Wild West. The film embraces the gritty and rebellious spirit of blaxploitation, while incorporating the iconic tropes of spaghetti westerns, such as wide desert landscapes and morally ambiguous characters.
The strength of “Outlaw Posse” lies in its commitment to paying homage to these two distinct genres. Van Peebles skillfully infuses the film with an authentic blaxploitation vibe, showcasing the struggles and triumphs of African American characters in a predominantly white society. At the same time, he captures the essence of spaghetti westerns through stunning cinematography and a captivating soundtrack.
However, the film does suffer from some inconsistencies in pacing and storytelling. There are moments where the narrative feels disjointed, and certain character arcs could have been further developed. Additionally, the combination of blaxploitation and spaghetti western elements may not resonate with all viewers, as it requires a particular appreciation for both genres.
Despite these flaws, “Outlaw Posse” manages to captivate with its unique blend of styles. Van Peebles’ direction is commendable, and the performances from the talented cast, including standout portrayals by the lead actors, add depth to the film. The action sequences are well-executed, and the overall visual aesthetic is visually striking.
In conclusion, “Outlaw Posse” may not be a flawless film, but it succeeds in offering a diverting mix of blaxploitation and spaghetti western tropes. Mario Van Peebles’ dedication to honoring these genres shines through, resulting in an entertaining and thought-provoking cinematic experience.
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