Tim Dillon Calls ‘Emilia Perez’ a Daily Wire/Matt Walsh Parody
Rebel comic torches Netflix musical, industry for being out of touch
Tim Dillon has seen the infamous “Emilia Pérez” clip that went viral for all the wrong reasons.
The sequence follows Zoe Saldaña’s character as she quizzes a doctor on “gender-affirming care.”
golden globe winning movie pic.twitter.com/SOlpHwkyXo
— andrew 🦇 (@andrew12la) January 6, 2025
Now, he’s torching a film that has earned a shocking 13 Academy Award nominations as well as the industry behind it. The film previously won the Golden Globe for Best Picture, Musical or Comedy last month.
“Emiila Pérez” stars Oscar nominee Karla Sofía Gascón as a murderous drug lord who transitions to become a woman, stages her old identity’s death and emerges as her new, empowered self.
The film hasn’t enjoyed an Oscar-season bounce. Even “Saturday Night Live” mocked its small audience size.
SNL calling out how bad Emilia Pérez is lol
“The Oscar nominations were announced, with the musical Emilia Pérez leading the pack with 13…total viewers.” pic.twitter.com/9tqAdfx9rm
— Spencer Althouse (@SpencerAlthouse) January 26, 2025
Dillon piled on.
“Outside of 12 people in Hollywood, no one wanted this, obviously. Not Mexicans. Not trans people. Nobody wanted this,” Dillon said.
The film has come under fire from GLAAD for allegedly being a poor example of trans storytelling. Some Mexican viewers torched the film for its inauthenticity.
Audiences at Rotten Tomatoes gave the film a dismal 17 percent “rotten” rating. Critics were kinder, but its 72 percent “fresh” score hardly screams Oscar darling.
“It doesn’t make a whole hell of a lot of sense from a marketing standpoint,” he said of the film. “But this town, the one that I’m sitting in currently, doesn’t care anymore about [that]… they just wanna give each other awards, they want to circle the drain. They don’t care.”
He then played the musical number show above and interrupted it midway through.
“This is like something you would think The Daily Wire would make as a spoof,” Dillon said. “This is like a Matt Walsh video … I cannot even believe and imagine that this exists.”
“Show this at the border and they’ll self-deport,” he cracked. “You won’t need ICE.”
He then grew a little serious, at least as serious as Dillon can be.
“Can you tell a story with any dignity? With any artistry?
“Here’s the problem with this town. People have to be fired,” he said next, a tough position since he’s worked repeatedly with Netflix, the streamer behind the film.
“People in this town have destroyed companies and they’ve destroyed the American faith in the movie business,” he said. “They ended up destroying the companies that they’re at the helm of with this garbage that people hate.”
“You’ve turned large swaths of the American public against your business,” he said.
More than 20 years ago, I lived in LA. I did not pay any attention to showbiz, didn’t go to five movies a year, and was not at all in “the industry.” But my wife and I, who were from the Midwest, had friends who were, He was a TV director and she a writer. They hosted a party to watch the Oscars and we were invited. Lots of the guests were associated one way or another with entertainment, TV and music mostly, not so much movies. So no stars or moguls, just folks who paid attention to “Hollywood” the same way folks in Detroit pay attention to cars, the central support for the local economy. As part of the fun, there was a contest for the guests to predict winners in 15 or 18 of the high visibility categories. I came in second. My hostess chided me. suggesting that I must have seen more of the movies than I was admitting, etc. I was a good guest and insisted that it was just beginner’s luck. In fact, my votes were based almost entirely on the advertising and promotion I had seen for the contenders. I reflected on it, thought about what the dimmest, most Progressive, “woke-est” (though the term at the time was “most politically correct”) Academy member would think THEY were supposed to vote for, and picked that one.
Tim Dillon PERFECT DESCRIPTION of this unbearable and tedious and ugly cumbersome film
AND AN EXACT BLISTERING ANALYSIS OF THE BETTER PART OF THE FILM INDUSTRY CURRENTLY