(TheLastPatriotNews.com) – Pulitzer Prize-winning playwright David Mamet, celebrated for his eloquent mastery of dialogue, offered a sharp critique of the Diversity, Equity, and Inclusion (DEI) standards currently influencing his field, as he declared that “DEI is garbage.”
Mamet shared these perspectives during a conversation with Matt Brennan, the Los Angeles Times deputy entertainment editor, at the University’s Festival of Books—an event hosted by the University of Southern California where he was promoting his memoir, “Everywhere an Oink, Oink.”
“DEI is garbage. It’s fascist totalitarianism,” Mamet asserted during the interview.
His recently published memoir recounts his life through various anecdotes and explores his political evolution.
Initially raised by communist parents, Mamet describes himself as a “red diaper baby” and traces his ideological shift from the far Left to his current endorsement of former President Donald Trump.
In addition to his critique of DEI, Mamet criticized the Academy of Motion Pictures’ new “inclusion standards,” which require films to meet specific criteria to qualify for award consideration.
“I can’t give you a stupid f***ing statue unless you have 7% of this, 8% of that,” Mamet lamented, highlighting his frustration with what he views as unnecessary interference.
He also expressed disdain for those responsible for enforcing these standards, whom he refers to as “diversity capos” and “diversity commissars” in his memoir.
Mamet acknowledged the historical prevalence of discrimination in Hollywood but contended that those imposing the new rules might be better suited for menial tasks than for fostering an environment of genuine inclusivity.
“The [film industry] has little business improving everybody’s racial understanding as does the fire department,” Mamet opined, questioning the industry’s role in cultural and racial education.
Reflecting on his own experiences, Mamet noted that his diminished prominence in Hollywood in the past few years was not due to a shift in his political views but rather to his advancing age, which he believes makes younger directors prefer collaborators who are nearer to their own age.
“Nobody’s going to pay me a lot of money anymore. Nobody’s going to let me have a lot of fun,” he remarked.
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