Seth Rogen and Rose Byrne star in the Judd Apatow movie 'Neighbors,' a comedy about frat life in college.

Seth Rogen and Rose Byrne star in the Judd Apatow movie ‘Neighbors,’ a comedy about college frat life that’s come under fire from a film critic.

Seth Rogen and much of Hollywood are raking Washington Post film critic Ann Hornaday over the coals for claiming that mass murderer Elliot Rodger is a product of Hollywood’s male-dominated culture and the “sexist, misogynistic” movies it produces.

There’s nothing new or original about that.

It’s an old saw that gets taken out of the barn anytime a convenient scapegoat is needed to explain something we don’t understand.

Hornaday, a government major at Smith College and a Pulitzer finalist in criticism, should know better.

If she knows anything about film history, she should know that such ill-informed logic can be dangerous.

It’s often used to burn books and justify things like the Red scare in the 1950s, which led to blacklisting and one of Hollywood’s darkest periods.

As it was then, it is now, a red herring.

On it’s face, of course, it seems plausible. If a movie about landing on the moon can inspire someone to be an astronaut, then it stands to reason that a movie could also inspire a psychopath to kill.

If that were true, she might have picked a more thoughtful example to make her point.

“How many men, raised on a steady diet of Judd Apatow comedies in which the shlubby arrested adolescent always gets the girl, find that those happy endings constantly elude them and conclude, ‘It’s not fair?'” [as Roger did], she writes.

So that’s it. If only Hollywood would stop encouraging “shlubby arrested adolescents” from believing they can get “the girl” of their dreams, then the world would be a lot safer from mass murderers.

But more than just a movie is at fault. Rodger was the very embodiment of male-dominated Hollywood. Or as Hornaday pus it, he “unwittingly expressed the toxic double helix of insecurity and entitlement that comprises Hollywood’s DNA.”

The true culprit, of course, is “mass entertainment.”

It’s “overwhelmingly controlled by white men, whose escapist fantasies so often revolve around vigilantism and sexual wish-fulfillment,” she writes.

Hornaday is so naive it’s painful. Hollywood is controlled by greed, just like every other private enterprise. If a studio didn’t think a Judd Apatow movie would make money, it wouldn’t get made.

And that’s a good thing. Because the public ultimately decides what they want to see by voting with their dollars.

In Hornaday’s world, however, Hollywood would be controlled by egg-head elitists who make only politically correct films. That’s a prescription Joseph Goebbels would heartily endorse.

Hornaday, who majored in “government” in college (no fun and sex for her, either, apparently), should know better.