John Waters is an acquired style.

The eccentric voice behind “Pink Flamingos,” “Cry Baby” and “Serial Mom” lives exterior the mainstream, and fortunately so.

Some Waters tasks have had wider attraction, like his 1988 musical “Hairspray” which got here with a subversive streak hidden beneath the gargantuan ‘dos.

He’s greatest recognized for his idiosyncratic tales of parents dwelling on society’s margins.

Only a few dad and mom assume his canon is youngster pleasant or race to introduce their children to his daring, bewildering imaginative and prescient. “Old Yeller?” Certain. “Dumbo?” Little doubt. “The Parent Trap?” Yup.

“Pink Flamingos?” Possibly throughout their first spring break. On the earliest.

Inform that to the Academy Museum in Los Angeles.

The group, a part of the Academy of Movement Photos Arts and Sciences, is bringing extra Drag Queen story hours to the general public. These occasions have turned many open-minded people in opposition to drag queens generally, noting the sexualized nature of the artwork type and the way inappropriate it’s for younger minds to see.

That’s not political. It’s Frequent Sense 101.

The fashionable Left routinely pushes drag queens on youngsters, together with Satisfaction parades and varied story hour applications. The media, in flip, suggests anybody disagreeing with the tactic is a bigot.

Most of the people appeared the opposite approach for many years as drag queens carried out earlier than grownup audiences. Yawn. Journalists refuse to simply accept the important thing variations now in play.

Media Corruption 101.

A part of the upcoming L.A. occasion, geared particularly for youngsters and adults, consists of readings from a few of Waters’ physique of labor.

“This fall’s slate of programs at the Academy Museum are designed to tell immersive and dynamic stories of moviemaking for visitors of all ages and abilities,” Amy Homma, chief viewers officer of the Academy Museum, stated in a press release. “Visitors can experience the John Waters: Pope of Trash exhibition, then join us for Drag Queen Story Hour to see kid-friendly live scene-readings from his films.”

Child-friendly? Hmmmm.

It’s unclear if the Waters’ scenes hail from extra innocuous tales like “Hairspray” or snippets from “Cecil B. Demented,” “Pecker,” “Multiple Maniacs” or “Pink Flamingos.”

There’s no purpose for youngsters to get an early introduction to Waters’ physique of labor.

None.

He’s an essential filmmaker, a singular voice in a market flooded with protected, formulaic fare. Mother and father can be equally cautious of displaying younger youngsters movies by George A. Romero, Wes Craven or John Carpenter, essentially the most outstanding horror administrators of our occasions.

“And now, here’s a thoughtful exchange from “The Crazies.” Hold on…”

Waters, regardless of his provocative artwork, isn’t desperate to alienate individuals and sometimes speaks in conciliatory phrases when discussing politics and tradition. One wonders about his response to the L.A. museum’s occasion, even when it’s celebrating his 50-plus years in present enterprise.