How ironic is it that Hollywood studios walk on eggshells with faith-based groups hoping their religious epics like Noah do a fraction of the business Mel Gibson did with The Passion Of The Christ, while those studios continue to shun Gibson like a leper? What better way to commemorate Passion’s 10th anniversary than journalist Allison Hope Weiner’s examination of her relationship with Gibson and how it evolved from harsh coverage to the point where she feels strongly enough about his good qualities why i deserve a second chance essay recovery to urge Hollywood to consider giving him another chance. Weiner has written about Gibson for Deadline before, as well as The New York Times and other national magazines.
612 million in worldwide ticket sales. In the years that followed, Gibson made several comments that went public, made him seem anti-Semitic and racist. They made him persona non grata at major studios and agencies, the same ones that work with others who’ve committed felonies and done things far more serious than Gibson, who essentially used his tongue as a lethal weapon. As a journalist who vilified Gibson in The New York Times and Entertainment Weekly until my coverage allowed me to get to know him, I want to make the case here that it is time for those Hollywood agencies and studios to end their quiet blacklisting of Mel Gibson. 6 billion, Gibson hasn’t been directly employed by a studio since Passion Of The Christ was released in 2004. The Gibson I’ve come to know isn’t a man who’ll shout from the rooftops that he’s not anti-Semitic, or hold a press conference to tell media those audiotapes were released as part of a shakedown, and that he never assaulted the mother of his infant daughter. He won’t explain to people that he first got himself into a career spiral because he’s a long struggling alcoholic who fell off the wagon and spewed hateful anti-Semitic remarks to an arresting officer who was Jewish.