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Here are just a few of the quotes from the live Oscar thread over at Dave Cullen's Ultimate Brokeback:

“To quote an Oscar-winning actor, I'm as mad as hell and I'm not going to take this any more.”

“Turns out homophobia is a force of nature.”

“You need to burn with a cold, hard, intense rage. And you need to take that rage to the homophobes wherever they hide. Remember: we bash back.”

In fact, the folks at Dave Cullen's site are even taking an ad out in a newspaper or trade publication, most likely Variety.

At first, there was talk of making the ad a rebuke to Hollywood, especially those straight white, older men (like Tony Curtis, who reportedly couldn't even be bothered to see the movie). But cooler heads prevailed, and the ad is now much more likely to be civilized in tone, thanking all of those involved, as well as listing all of the awards Brokeback has won.

This is shrewd because it not only let's the gay community look reasonable, but still subtly points out that Crash in no way compared to Brokeback Mountain's stature. Brokeback fans have already donated $8,000 toward the cost of the ad.

THE FUTURE OF HOLLYWOOD?
In the end, Hollywood has pleased few, save those who actually loved Crash. Conservative America is unlikely to stop blasting television shows they find offensive, or complaining about the sex and violence in movies showing at their local cineplexes. Hollywood would have to do far more than distance themselves from gays and lesbians to satisfy the likes of Pat Robertson and Jerry Falwell. Indeed, the religious right needs Hollywood to keep their base angry, activated, and donating cash.

Hollywood may have hoped to avoid controversy by choosing Crash over Brokeback Mountain. More than once during the Oscar telecast mention was made of Hollywood's declining box-office revenue. By distancing themselves from Brokeback's gay themes, the voters may have thought to spare themselves further decline in ticket sales, as well as attacks on their supposed moral “agenda”.

But in trying to appease right-wing critics, Hollywood has just alienated another key group of movie-goers: gays and their supporters, who, incidentally, have often defended Hollywood against right-wing criticism. More than one person posting during Dave Cullen's live Oscar thread expressed the sentiment that it would be a cold day in hell before they paid nine dollars to see another movie.

In other words, by trying to prevent some feared outcome, Hollywood may have just made their problems worse. It's such a predictable ending that filmmakers, such practiced storytellers, should surely have seen it coming.

National gay groups have been measured in their response to the Academy Awards, declining to accuse anyone of homophobia. Neil Giuliano of GLAAD said both Brokeback Mountain and Crash were worthy contenders and deserved credit for addressing intolerance. But the reservoir of goodwill is clearly running dry.

Indeed, by snubbing Brokeback Mountain for Best Picture, the Academy has hung a dead albatross around their necks that will stink for decades to come. When people talk about Oscar injustices, such as Chariots of Fire win over Reds, or Rocky's over Network, Taxi Driver, and All the President's Men, there will now be a new gold standard of Oscar absurdity: Crash's win over Brokeback. No other Oscar upset has involved breaking as many precedents or ignoring criteria long valued by the Academy in choosing their Best Picture.

Hollywood insiders have long claimed that while much of what they produce is mindless schlock created solely to make a buck, the Oscars prove that Hollywood has a soul, and that it can, therefore, make and reward relevant art. But Sunday night that bright image flickered and burned. From now on, Hollywood must live with the notion that it is at best cowardly and at worst homophobic.

Can they redeem themselves in the end? It's another perfect Hollywood ending, of course. Alas, it's one that has yet to be written.

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