Even Al Gore’s harshest critics will admit his 2006 documentary “An Inconvenient Truth” changed the national conversation on Climate Change.
Not every left-leaning film scores such a pop culture bullseye. Many do just the opposite, flailing to find purchase, let alone changing hearts and minds.
The following six films fall squarely into that category. Their ineptitude, and galling bias, failed them where it counted most.
‘Truth’
The title alone is a howler, especially since its subject matter leaned even harder into his biases since the movie’s 2015 release date. The sorry saga of how famed newsman Dan Rather lost his CBS anchor perch by pushing phony documents would make a great film about journalistic malfeasance.
Instead, the team behind “Truth” pretended Rather (Robert Redford) got a raw deal. It’s laughable on the surface, and even funnier when you watch it on the big screen.
Except “Truth’ isn’t a comedy.
What went wrong? For starters, the filmmakers leaned on a key figure behind the fiasco, Mary Mapes, and her book attempting career damage control – “Truth and Duty: The Press, the President and the Privilege of Power.”
&#8220;It&#8217;s astounding how little truth there is in Truth. There are, in fact, too many distortions, evasions and baseless conspiracy theories to enumerate them all. The film tries to turn gross errors of journalism and judgment into acts of heroism and martyrdom,” Gil Schwartz, CBS’s spokesman, said at the time of the movie’s release.
To no one’s surprise “Truth” flopped in theaters, generating $2.5 million.
‘Game Change’
You don’t have to admire former Alaskan Gov. Sarah Palin to see this HBO film for what it is – a hit piece of the highest order.
Hit pieces can still be entertaining, smart and/or illuminating despite the overt bias in play. The 2012 “Game Change” offered little of that, instead turning a credible politician into a cartoon character.
Once again a film stumbles upon a powerful story – a little-known politician gets thrust into the limelight during a presidential campaign – but doesn’t know what to do with it.
Hollywood and the Left loathed Palin at the time, a precursor to their nonstop rage against President Donald Trump.
What we see, instead, is Julianne Moore adopting a political caricature which makes an unforgivable mistake. It pretends the real Palin had no political instincts, insights or career coattails.
<a href="http://www.mtv.com/news/1680846/game-change-reviews/">John Nolte’s review</a> sums it up nicely.
&#8220;Moore portrays Palin as a Manchurian Candidate for the extreme right who is activated by a phone call from the McCain campaign. Like a hypnotized spy, she&#8217;s humorless, incapable of any kind of emotional connection with anyone, bewildered by circumstance and absolutely determined to meet the goal she&#8217;s been programmed to complete.
‘Fahrenheit 11/9’
Movie goers should know not to take any Michael Moore film seriously. The far-left auteur can assemble images in a compelling fashion, but his brand of filmmaking falls short when it comes to the trust factor.
Still, nothing could prepare us for this venture into Trump Derangement Syndrome. It’s a potpourri of rage, conspiracies and downright deception with little of the wit displayed on your average late-night show.
Of course Moore draws a bright line from Hitler to Trump, but in a way that should embarrass anyone with a fully functional cortex. 
The film even shows photos with the watermarks still on them, a sign Moore’s budget wasn’t as robust as in the past. Perhaps that’s a reflection of his shrinking fan base. His 2004 film “Fahrenheit 9/11” earned a whopping $119 million, the most for any political documentary. Subsequent Moore films earned increasingly less. This sort-of sequel? A meager $6.3 million. No one buys what Moore is selling these days, and “11/9” helps explain why.
‘Vice’
The very best part of far-left filmmaker Adam McKay’s screed is Christian Bale’s transformation into Vice President Dick Cheney. He’s a great actor, but the makeup required to turn him into the older, portly man is stunning.
McKay’s attack piece isn’t actually about Cheney, though. It’s really an assault on conservatives, from Fox News to Ronald Reagan and Rush Limbaugh. McKay could have made a better movie by sticking to the source, an interesting fella no matter where your political leanings may be.
Instead, he gathered some fine actors (Steve Carell, Amy Adams and Sam Rockwell) to do “Saturday Night Live” impressions from his rickety script. 
The most dispiriting part of the film, <a href="https://www.indiewire.com/2019/03/annapurna-lost-15-million-vice-beale-street-1202050782/#:~:text=In%20fact%2C%20insiders%20tell%20Variety,was%20a%20%247%20million%20misfire.">which lost its studio millions</a>, is how arrogant it appears. Audiences just aren’t bright enough to see the real Cheney and co. like McKay can, even though his film stoops to every liberal cliché in the book, and pens a few new chapters, too.
‘Bushwick’
You’d think the programmers behind the Sundance Film Festival would have glanced at this stink bomb and said, “no thanks.”
Instead, this far-left actioner graced the prestigious festival’s lineup in 2017. 
Why? Let’s assume the festival types adored its hard-left edge and social commentary. Everyone else saw a rancid film with sad talking points shoved into the narrative.
Brittany Snow stars as a young woman trying to stay alive during an American revolution, of sorts. Several red states are trying to secede, by force, and the Bushwick section of New York is ground zero for mayhem.
Blame The Fathers of the New America Coalition, eager to create a new country “free from government tyranny.” Of course, they’re racists, one reason why they chose to attack an ethnically diverse section of New York – Bushwick.
It’s lazy, B-movie chaos without the sense of fun similar projects create.
‘The Day After Tomorrow’
Director Roland Emmerich may be the least subtle filmmaker alive. His films blow up stuff real good, witness “2012,” “Midway” and “Independence Day.”
This 2004 clunker tries to warn us about global warming, but all it did is leave us snickering.
Roger Ebert dubbed it “<a href="https://www.rogerebert.com/reviews/the-day-after-tomorrow-2004">profoundly silly</a>,” and that’s being kind. Dennis Quaid stars as a scientist who predicts a new ice age is just around the corner, but he’s tut-tutted by a Vice President who looks suspiciously like … Dick Cheney!
In case there wasn’t enough progressive messaging in the movie, Americans start flocking to Mexico for safety, becoming illegal immigrants in the process.
Only in Hollywood.
The views expressed in this opinion piece are the author’s own and do not necessarily represent those of The Daily Wire.
The Daily Wire is one of America’s fastest-growing conservative media companies and counter-cultural outlets for news, opinion, and entertainment. Get inside access to The Daily Wire by becoming a <a href="https://www.dailywire.com/subscribe">member</a>.

Annapurna Pictures, Gary Sanchez Productions And Plan B Entertainment’s World Premiere Of “Vice” – Arrivals

6 Laughably Bad Leftist Propaganda Films

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Jon Stewart never should have left the public stage.
The liberal comedian famously quit Comedy Central’s “Daily Show” in 2015, shocking progressives who couldn’t live without him “destroying” some GOP target five nights a week.
The left and the media (repetitive, I know) went into a lengthy period of mourning following his departure.
Slowly, a new crop of Stewart types took his place. These comics made even less of an attempt to be fair and balanced. They were meaner, too, leaning into Stewart’s bleep-filled rants with a venom Stewart rarely brought to his Comedy Central perch.
One example? Samantha Bee kicked off her TBS hate-fest “Full Frontal” by calling Sen. Ted Cruz a “fist-faced horse-s*** salesman.”
It only got more “feckless” from there.
Meanwhile, Stewart tried to go the auteur route. He directed two films which made nary a ripple in the pop culture waters. His 2014 movie “Rosewater,” about a BBC journalist tortured by Iran’s Revolutionary Guard, earned respectable reviews but didn’t make an awards season splash.
His 2020 effort, “Irresistible,” did far worse. The amiable comedy, with just a <a href="https://www.hollywoodintoto.com/jon-stewart-irresistible-black-lives-matters-gun-owners/">dollop of partisan rage</a>, dared to poke fun at both sides of the political aisle. Stewart might as well have donned a red MAGA hat in public.
Liberal film scribes didn’t want a fair and balanced satire. They wanted “Orange Man Bad: The Movie.” Stewart didn’t deliver it, and they let him have it.
<ul>
<li style="font-weight: 400;" aria-level="1">“Irresistible isn’t just shockingly ineffectual in its insights into national schisms — it is, in an added betrayal, unfunny, requiring its audience to slog their way through so much laborious farce without a laugh in sight.” – Vulture</li>
<li style="font-weight: 400;" aria-level="1">&#8220;Jon Stewart Returns with a Toothless Political Satire Out of Touch with Trump Era.&#8221; &#8211; IndieWire</li>
<li style="font-weight: 400;" aria-level="1">“In desperate need of ruthless incisiveness, it goes soft at every turn” &#8211; Daily Beast</li>
</ul>
What Stewart couldn’t realize was how culture had lapped his brand of liberalism during his absence. 
Black Lives Matter. Antifa. AOC. Identity Politics. Woke, Inc.
More importantly, any attempt to lure right-of-center viewers into the conversation was considered a nod to White Supremacy.
Suddenly, Stewart was older … and old news.
The hard Left loved their new darlings, from Bee to Stephen Colbert. They had no time for a white cis-gender male who leaned on fellow white males in the writer’s room back in his day. 
His “problematic” past quickly began to haunt him during his hiatus.
Sure, his “Daily Show” run fueled the careers of John Oliver, Steve Carell, Ed Helms and Bee, but they were all the same skin color. His tenure also featured a blazingly white creative team, which <a href="https://www.newsbusters.org/blogs/nb/christian-toto/2020/06/27/jon-stewart-apologizes-his-blazingly-white-daily-show-staff">caught the attention</a> of radio’s “The Breakfast Club” last year.
Stewart said he <a href="https://www.newsbusters.org/blogs/nb/christian-toto/2020/06/27/jon-stewart-apologizes-his-blazingly-white-daily-show-staff">became aware of the problem</a> during his celebrated “Daily Show” run, but his attempt to fix it by removing the names from potential hires fell flat.
“But we still kept just hiring white dudes. White dudes from a certain background,” he said. “What we realized is the river that we were getting the material from, the tributary was also polluted by the same inertia. And you had to say to them, send me women, send me black people. And all of a sudden, women got funny. It just kind of happened. But they’d been funny all along. We just hadn’t actively done enough to mine that.”
The host also famously dueled with a rare black writer on his staff, Wyatt Cenac. Their confrontation would have gotten Stewart fired had it happened today.
Cenac complained that Stewart’s Herman Cain impression sounded racist, and he told his boss as much. Stewart proceeded to curse Cenac out, only later realizing the error of his ways.
“Those were hard lessons for me, and they were humbling lessons. And I was defensive about them and still didn’t do it all right,” he said later, hoping to smooth things over.
Wrong.
Never apologize to the woke mob. Stewart should know better than that. But he did it, and now that “on his heels” posture is coming back to haunt him.
Stewart announced last year that he’s ending his self-imposed TV sabbatical. His upcoming Apple TV show, “The Problem with Jon Stewart,” will examine a single, searing issue with every episode.
We’re learning more about the show of late, including some behind-the-scenes hires and the debut frame – later this Fall.
Along comes Vice to say there’s a <a href="https://www.vice.com/en/article/93y9n3/the-problem-with-the-problem-with-jon-stewart">“problem” with Stewart’s upcoming “Problem.”</a>
The article leverages Cenac, again, who fears the show may be too similar to his own short-lived show, “Problem Areas.”
[Cenac] posted a clip of a monologue he&#8217;d delivered on Problem Areas: &#8220;But if there&#8217;s one thing I&#8217;ve learned: If you want somebody to take a Black guy saying something meaningful on TV seriously, you really need to have a white guy saying basically the same thing right after,&#8221; <a href="https://twitter.com/wyattcenac/status/1379860908600668169?s=20">he&#8217;d said</a>. 
That’s the nasty appetizer to Vice’s main course.
Even if Stewart prioritizes diversity in his hiring practices, there&#8217;s still the question of where he fits in in the political and entertainment landscapes of 2021. With former Daily Show correspondents like Samantha Bee, Oliver, and Minhaj now helming similar shows of their own, and Trevor Noah&#8217;s very capable tenure as Daily Show host who&#8217;s able to speak about race and injustice in more resonant ways than his predecessor, how will Stewart set himself apart? 
The article then cites Stewart’s take down interviews with the likes of Tucker Carlson and Jim Cramer, moments that felt good at the time but left no permanent marks. Each rose to greater media heights since then, and Vice suggests Stewart is partially to blame.
Yes, when the woke Left turns on you … anything goes.
The far-left AV Club <a href="https://tv.avclub.com/jon-stewart-to-explore-the-problem-with-jon-stewart-on-1846640779">has concerns about the new show</a>, too.
Apple, obviously, is banking on Stewart’s continued appeal, but there’s a clear question at play here: Is that love still actually operative? The Trump era, which Stewart mostly sat out, was exceedingly hard on the idea that political satire, in and of itself, had the ability to effect real-world change—once a core part of the Daily Show appeal. Is Stewart’s particular, and once-potent, blend of sharp comedy, moral outrage, and intentional absurdity still in demand?
What’s missing from Stewart’s comeback story? The fact that HBO teamed with him a couple of months after he left Comedy Central for a <a href="https://abcnews.go.com/Entertainment/jon-stewart-signs-deal-current-events-programming-hbo/story?id=34941750">four-year deal</a> that included a slate of projects, including stand-up specials and an animated series.
Nothing materialized.
Maybe Stewarts’ hard-left critics have a point.
The views expressed in this opinion piece are the author’s own and do not necessarily represent those of The Daily Wire.
The Daily Wire is one of America’s fastest-growing conservative media companies and counter-cultural outlets for news, opinion, and entertainment. Get inside access to The Daily Wire by becoming a <a href="https://www.dailywire.com/subscribe">member</a>.

Behind the Scenes with Jon Stewart of The Daily Show

How Jon Stewart Went From Liberal Hero To Problematic Pariah

Jon Stewart

Media Bias

Jon Stewart never should have left the public stage. The liberal comedian famously quit Comedy Central’s “Daily Show” in 2015, shocking progressives who

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Hollywood hearts gender swap remakes.
Why? The phrase has the word “remake” in it, for starters. The industry sees remakes as safe bets, and that has some wisdom to it.
Nostalgia, plus the curiosity factor, brings out at least a small audience, guaranteed.
Plus, when the industry isn’t ignoring women over 40 or demanding starlets lose every ounce of viewable fat, it loves to promote female empowerment.
Unless your last name happens to be <a href="https://www.dailywire.com/news/gina-carano-to-produce-and-star-in-upcoming-film-for-the-daily-wire?utm_source=adwords&amp;utm_term=&amp;utm_campaign=Dynamic+Search&amp;utm_medium=ppc&amp;hsa_kw=&amp;hsa_ad=465731125637&amp;hsa_src=g&amp;hsa_ver=3&amp;hsa_grp=70834836912&amp;hsa_cam=1908710580&amp;hsa_tgt=dsa-437115340933&amp;hsa_acc=6411461344&amp;hsa_mt=b&amp;hsa_net=adwords&amp;gclid=Cj0KCQjw1PSDBhDbARIsAPeTqrchBTHcZ6F8Binhu2RmraVWYzDgWJc3oQWQEVRY_YENcbuKFDipl6EaAmNGEALw_wcB">Carano</a>, of course.
There’s still a problem with the industry’s love affair with gender swap projects. They very often flop either creatively, commercially, or both.
The 2018 hit “Ocean’s Eight” is a stark exception, although the film has yet to spark a sequel to date. Even that fizzy remake made less than the previous “Ocean’s Eleven,” itself a reboot of the 1960 model starring Frank Sinatra.
The following six gender swap remakes proved far less successful. Some were downright disastrous. None made the kind of money Hollywood craves when it cranks up the remake machine.
“The Hustle”
It’s only fitting to start with the worst of the worst. This remake of a remake (“Bedtime Story”) starred Anne Hathaway and Rebel Wilson, ostensibly standing in for Michael Caine and Steve Martin from 1988’s “Dirty Rotten Scoundrels.”
What a great name for a movie, by the way.
“The Hustle” starts with the kind of flop-sweat opener that portends creative doom. And the rest of the movie didn’t disappoint, at least from that perspective. Critics savaged the film (<a href="https://www.rottentomatoes.com/m/the_hustle_2019">13 percent “rotten” on RottenTomatoes.com</a>), and rightly so. “The Hustle,” which flirted with woke attitudes before the film’s merciful conclusion, made just $35 million at the U.S. box office.
It’s a classic case of a remake stranding two genuinely talented stars.
“Ghostbusters”
On paper, this 2016 remake/reboot/reimagining scored serious coin — $125 million domestically. The problem? That’s chump change for beloved properties like “Ghostbusters,” and the film’s hefty price tag meant it had to crank out far more to turn a profit. As is? The film reportedly cost its studio, Sony, a not-so-cool $70 million and temporarily stalled the franchise.
The so-called “Lady Ghostbusters” did squeeze in cameos from original stars Dan Aykroyd, Bill Murray, Ernie Hudson and Annie Potts, playing new characters who barely registered on screen. But the bad blood began when Sony and co. leaned into the film’s feminist trappings. 
It got worse when the limp trailer dropped, confirming the project was more about pseudo grrrl power than telling a hilarious story.
The movie’s public image tanked after its release, forcing Sony to lick its woke wounds and serve up another “Ghost” story, the upcoming “Ghostbusters: Afterlife,” with little (or no?) creative ties to the gender swap dud.
“Overboard”
The 1987 comedy “Overboard” didn’t set the culture, or the box office, ablaze. It was a rare chance to see off-screen partners Goldie Hawn and Kurt Russell bond on the big screen. The film earned a loyal flock of fans since then, which clearly made Hollywood think a remake was in order.
Naturally, that meant flipping the genders around so that the stuffy rich lady/villain was now a man (Eugenio Derbez), with our sympathies centered on the female lead (Anna Faris).
Once again, critics thrashed the remake (24 percent “rotten”) and the box office proved modestly better — $50 million in pre-pandemic figures.
Modern culture writers found the original “Overboard” problematic – Russell’s character treats Hawn’s snob like an indentured servant at times, for starters. The remake couldn’t even play the woke card right, according to The Daily Telegraph, which said it &#8220;manages to feel far more dated, regressive and stale than the film it&#8217;s based on.&#8221;
“High Fidelity”
John Cusack’s 2000 rom-com, based on Nick Hornby’s novel of the same name, made the main character’s music obsessions part of the fun. Cusack’s record shop owner may technically be an adult with real world issues, but his passions felt like those of a teenager refusing to grow up.
Hulu took that template and made the main character a woman with her own relationship woes. Cusack may be handsome, but he played up his hangdog appeal for the original feature. That seemed more challenging for Hulu’s version, featuring the lovely Zoe Kravitz as the romantically lost lead.
The show earned solid reviews, which could be due to its feminist underpinnings (modern critics routinely grade content on a progressive curve), but Hulu pulled the plug on the show after just one season.
“Life of the Party”
What happened to Melissa McCarthy? The “Bridesmaids” scene stealer went from box office superstar to someone scrambling to find scripts worthy of her talents.
That proved true, again, with this quasi-remake of “Back to School.” That 1986 comedy gave Rodney Dangerfield his greatest screen role, and he made the very most of it. McCarthy’s 2018 quasi-remake, alas, strains to match the original’s whimsy or naughty nature.
“Maybe you can help me straighten out my Longfellow?”
“Party’s” $52 million box office haul isn’t bad, but the 38 percent “rotten” score and the film’s lack of memorable moments sure are. The film’s soft ticket haul coincided with McCarthy’s box office tailspin.
The actress’ films (like “Spy,” “The Heat” and “Identity Thief”) used to crush the $100 million box office barrier. No longer.
“What Men Want”
Mel Gibson’s 2000 comedy made a shocking $182 million, a huge figure both then and now. It helped that the movie played off of Gibson’s alpha male screen persona, following a rapscallion who suddenly had the power to read women’s minds.
He became a better, more evolved man as a result. The gimmick worked.
The remake cast Taraji P. Henson in the main role, a hard-charging executive who suddenly can hear what men are thinking. The film lacked the spark of the original, but it did throw in talking points about women’s struggles in the workplace.
The remake earned $54 million. That’s not terrible, but it’s nearly a quarter of the original’s haul 21 years after the fact.
Still need a reason to stop the gender remake brigade? Here’s the Independent <a href="https://www.independent.co.uk/voices/female-reboot-movies-women-ghostbusters-oceans-8-superheroes-feminism-a8582426.html">offering just that</a>.
At their worst, they demonstrate the film and television industry’s cynical profiteering from contemporary feminist ideals.
The views expressed in this opinion piece are the author’s own and do not necessarily represent those of The Daily Wire.
The Daily Wire is one of America’s fastest-growing conservative media companies and counter-cultural outlets for news, opinion, and entertainment. Get inside access to The Daily Wire by becoming a <a href="https://www.dailywire.com/subscribe">member</a>.

Premiere Of Sony Pictures’ “Ghostbusters” – Arrivals

6 Movie Remakes That Tried Swapping Genders… And Flopped

Woke Culture

Hollywood hearts gender swap remakes. Why? The phrase has the word “remake” in it, for starters. The industry sees remakes as safe bets, and that has some

6 Movie Remakes That Tried Swapping Genders... And Flopped

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Jimmy Kimmel famously said, “not good riddance, but riddance,” to Republican viewers who might be burned by his hard-left monologues.
Greg Gutfeld’s reaction? “Why would you do that?”
The right-leaning comic enters Kimmel’s late-night realm this week with a decidedly different approach.
No one expects the Fox News mainstay to push progressive talking points on “Gutfeld!” which debuts at 11 p.m. EST April 5. He’s still not going to mock the half of the country marinating in the progressive yuks delivered by Kimmel, Stephen Colbert and their far-left chums.
“Democrats tend to target groups. It’s not just Trump, it’s Trump voters or those stupid Republicans and gun nuts,” Gutfeld says. He has no issue mocking President Joe Biden, Sen. Chuck Schumer or other progressive leaders. He’s not gunning for their voters, though.
“It’s off limits,” Gutfeld says. “You don’t punch down, go after groups of everyday Americans. You understand there’s a variety among groups. Even within groups there are vast differences between them.”
That approach, plus Gutfeld’s vow not to insult Red State U.S.A., offers a truly fresh late night experience.
He wouldn’t be surprised if his new show attracts its fair share of liberals. It wouldn’t be the first time. His gonzo Fox News debut, the cult favorite “Red Eye,” did just that.
The differences between “Gutfeld!” and existing shows don’t end with a host unwilling to infuriate half the country.
“Gutfeld!” isn’t obsessed with landing traditional late night guests, like George Clooney or Tom Hanks. He praises the old-school interviews conducted by David Letterman, but the NBC legend toiled at a time when publicists had less control over the late-night landscape, he says. More recently, the stars’ publicists took greater ownership of the process.
“Be nice to my talent, or you won’t get any more talent,” he says, a “game” he has little interest in playing.
“The guests have to be interesting to me … or there’s something about them that excites me,” Gutfeld says. “Ninety-eight percent of them are not actors with a big project [to promote]. They are scientists, inventors, unusual people … cult-level performers and directors I’m super interested in.”
“I’m confident that what’s interesting to me is of interest [to] the viewer because I’m the viewer,” he adds of his Everyman approach. “Maybe it would be great if I interviewed Clooney, but I’m not gonna have fun doing that, and I want have fun.”
Appearing on Fox News may make it harder for them to get traditional Hollywood guests anyway. Can anyone imagine a far-left “Will &amp; Grace” star stepping foot onto a Fox News stage to chat about wacky behind-the-scenes moments?
Some late-night hosts crash and burn on arrival, like Chevy Chase’s disastrous showcase back in 1993. Others eke it out a bit longer but eventually fail, like Magic Johnson, Larry Wilmore and Hasan Minhaj. 
“Gutfeld!” has plenty of momentum to start its run.
“The Greg Gutfeld Show,” which aired on Saturday nights, gave Fox News the second highest rated late-night program behind CBS’s “The Late Show.” It’s all the more impressive since it was a non-broadcast TV show that aired on weekends. Even more noteworthy is that Gutfeld’s program lapped Colbert’s “Show” sporadically last year.
“Gutfeld!” viewers can expect an opening monologue in the grand late-night tradition, but that’s where the similarities dry up, he says.
He recalls watching a “horrendous” clip of Jimmy Fallon interviewing Gov. Andrew Cuomo on “The Tonight Show,” among many reasons he’s hoping to offer something fresh to the formula.
The “great” jokes told by his new peers are few and far between.
One reason why? The Kimmels, Meyers and Colberts are often scoring partisan political points, with some monologues devoid of anything resembling humor.
Gutfeld wants to avoid the “clapter” trap, and he knows one way to do it.
He says sometimes on the old “Gutfeld” show the tone would get too serious, and he’d recognize the problem between segments.
“You have to start thinking, ‘what am I here for?’ I’m the clown who is supposed to turn the burner down,” he says, a task that’s “sometimes impossible when the topics are so volatile.”
He wants to make a late-night show that captures the Johnny Carson model, where audiences go to bed with a smile, not a scowl.
“You wanna be able to talk about the news, make people laugh and have a good time and go to bed thinking they got something out of it,” he says, one reason he tries not to read Twitter before he calls it a day.
In a way, “Gutfeld!” is a natural extension of his eponymous Saturday show, down to returning cohorts like Kat Timpf and Tyrus.
“There’s a bunch of knobs on this show, and we up the frequency,” he says. “It’s a domino effect. What happens when you take something from one and you take it to five? More guests, more segments, and you end up taking risks you normally wouldn’t take.”
That approach isn’t possible with a once-a-week showcase, where chemistry can’t be built as quickly over a period of days.
“You can’t have ‘call back’ conversations if you’re not on every day,” he says. “You get a tougher skin [with the nightly format] and weird s*** happens. I’m looking forward to that.”
The views expressed in this piece are the author’s own and do not necessarily represent those of The Daily Wire.
The Daily Wire is one of America’s fastest-growing conservative media companies and counter-cultural outlets for news, opinion, and entertainment. Get inside access to The Daily Wire by becoming a <a href="https://www.dailywire.com/subscribe">member</a>.

Greg Gutfeld

‘You Get A Tougher Skin And Weird S*** Happens. I’m Looking Forward To That.’ Greg Gutfeld On The Launch Of His Late-Night Fox News Show, ‘Gutfeld!’

Fox News

Readers Pass

Jimmy Kimmel famously said, “not good riddance, but riddance,” to Republican viewers who might be burned by his hard-left monologues. Greg Gutfeld’s

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The Daily Wire came to actress Gina Carano’s aid after she was unfairly fired from Disney for her social media messages.
This week, SalemNOW offered a similar service after a right-leaning documentary got shelved without warning or reason.
“Created Equal: Clarence Thomas in His Own Words” screened nationwide last year courtesy of PBS stations. Director Michael Pack’s film allows the Supreme Court Justice, famous for sharing few public words, to detail his upbringing and judicial philosophy. Viewers learned of the justice’s impoverished childhood, his flirtation with radicalism and how Democrats attempted what he called a “high-tech lynching” to keep him off the highest court in the land.
Pack is a veteran filmmaker with long ties to PBS, and the film earned a 99 percent “Fresh” score from RottenTomatoes.com readers.
“Created Equal” landed on Amazon’s on-demand platform after its traditional broadcast run without incident until a few weeks ago. Then, Amazon abruptly pulled the film focused on the only current black member of the Supreme Court during Black History Month.
The company offered no reason for the film’s removal from its platform nor any warning that such a step might occur. The title remains unavailable on Amazon, but the company allows the DVD version of the film to be purchased on its consumer product side.
This reporter contacted Amazon for a separate story about the film’s removal but didn’t receive a response.
Enter SalemNOW. The new video streaming service specializes in right-leaning, faith-friendly titles like “No Safe Spaces,” “Church People” and “What Killed Michael Brown?”
The video distribution arm of Salem Media Group just added “Created Equal” to its content lineup.
“We know the admiration our fans have for Justice Thomas. Now through experiencing ‘Created Equal,’ they will learn his incredible, courageous life story and how he became one of the greatest legal minds in the history of America,” Michael Reed of Salem Media Group said in a statement.
Amazon previously attempted to block the 2020 film “What Killed Michael Brown?” from its on-demand services. Amazon initially told the team behind the film, a contrarian take on the Ferguson man’s death in 2014, that the documentary didn’t meet the streaming service’s quality criteria and the decision was final.
That contrasted with the polished, mature storytelling featured in the movie, which stars celebrated pundit Shelby Steele.
Amazon quickly backtracked following media attention on the issue, allowing “What Killed Michael Brown?” to be streamed on its service after all.
Amazon’s penchant for removing content that defies progressive groupthink isn’t relegated to movies.
More recently, Amazon removed a well-researched book critical of the current trans movement. Ryan Anderson’s “How Harry Became Sally” is no longer available, <a href="https://www.ncregister.com/blog/amazon-breaks-silence">according to Amazon</a>, because it “frame[s] LGBTQ+ identity as a mental illness,” a claim the author denies.
Four Republican senators have dubbed Amazon’s actions “<a href="https://www.deseret.com/indepth/2021/3/8/22308119/bill-clinton-helped-create-conservative-publishing-where-headed-josh-hawley-regnery-amazon-google">political censorship</a>” in a letter to former Amazon CEO Jeff Bezos.
Abigail Shrier, whose book “Irreversible Damage: The Transgender Craze Seducing Our Daughters” was removed from Target’s digital shelves, offered a warning about the future given the current climate on <a href="https://abigailshrier.substack.com/p/book-banning-in-an-age-of-amazon">her Substack page</a>.
“As a direct result of Amazon’s action, many outstanding books will now go unwritten; they will not be commissioned whenever Amazon’s distribution is the slightest bit in doubt. As I write this, authors are being dropped by agents or politely refused representation, based on what the agents now know Amazon will not carry,” Shrier says.
The Daily Wire is one of America’s fastest-growing conservative media companies and counter-cultural outlets for news, opinion, and entertainment. Get inside access to The Daily Wire by becoming a <a href="https://www.dailywire.com/subscribe">member</a>.

Clarence Thomas

SalemNOW Revives Clarence Thomas Doc After Amazon Cancellation

Amazon

The Daily Wire came to actress Gina Carano’s aid after she was unfairly fired from Disney for her social media messages. This week, SalemNOW offered a

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Late night comedians speak truth to power, keeping our leaders honest in troubled times.
Just kidding!
They’re propagandists first, joke tellers a distant second. Seeing them violently switch comedic gears during the Trump-Biden transition proved that to anyone willing to trust their eyes and ears.
Still, these brave “truth tellers” avoid select topics at all costs. Why? It could damage the Democrats. It’s why some ripe subjects remain untouched by Colbert, Kimmel, Bee and their like-minded peers. Others are approached oh, so gingerly before moving on to a stale Orange Man Bad throwback joke.
COVID-19’s Rolling Goal Posts
Any satirist could feast on this topic. Every few weeks the powers that be, from the CDC to various politicians and news outlets, move the goal posts on the enduring pandemic. From “15 days to slow the spread” to, “heck, you better stock up on masks even after we’ve all been vaccinated,” the advice regarding COVID-19 is constantly shifting.
Here’s a hint. It’s rarely about the science and mostly about expanding government control.
So where is Colbert to “destroy” these inconsistencies? Shouldn’t John Oliver drape his thick British accent atop the hypocrisy?
Of course not. Pandemic overreach is like dogma on the Left, and comedians are loath to even bring it up, let alone satirize it.
Dr. Anthony Fauci
Dr. Fauci himself often appears on late night shows to peddle his curious brand of information and medical spin. The hosts, in turn, treat him like a conquering hero.
What’s missing? Jokes attacking the doctor’s horrendous track record on multiple fronts. Here’s a quick reminder: He admitted to <a href="https://www.reuters.com/article/uk-factcheck-fauci-outdated-video-masks-idUSKBN26T2TR">lying to Americans about mask use</a> early in the pandemic. Later, he confessed he <a href="https://www.axios.com/fauci-goalposts-herd-immunity-c83c7500-d8f9-4960-a334-06cc03d9a220.html">twisted the numbers</a> about herd immunity because he didn’t trust the public to do the right thing.
He also kept mostly quiet about Black Lives Matter rallies as potential super spreader events. Perhaps worst of all? He praised both New York and its Governor, Andrew Cuomo, as the leaders we need in these troubled times.
“<a href="https://www.cnbc.com/2020/07/18/fauci-holds-up-new-york-as-model-for-fighting-coronavirus-they-did-it-correctly.html">They did it correctly,”</a> he said last July. Really.
That’s just a partial list of why the American public should greet any Fauci-ism with a grain of table salt. The next time he graces a late night couch, though, he can expect nothing but softballs and huzzahs.
Antifa Violence
Late night comics are taking the Biden approach to this far-left hate group. It’s just an idea that causes “<a href="https://www.hollywoodintoto.com/late-night-gaslighting-seth-meyers-portland/">light property damage and graffiti,”</a> according to Seth Meyers of “Late Night” fame. Oliver similarly downplayed the endless violence caused by the radical group.
Otherwise, Antifa rarely gets mentioned on the late night landscape.
Colbert found a semblance of sanity in 2018, <a href="https://www.washingtontimes.com/news/2018/nov/8/stephen-colbert-antifa-mob-tucker-carlsons-house-s/">mocking Antifa for targeting Tucker Carlson’s home</a>. Since then, he’s been more muted on the subject. Last June, he poked fun at a news story where President Trump claimed an elderly man was an Antifa radical.
The Left’s embrace/acceptance/denial of Antifa violence is one of many stains on their collective character, which is why these comics won’t go near the subject.
The Florida Success Story
Late night TV loved Gov. Andrew Cuomo … until the truth finally seeped out. We now know the Luv Gov&#8217; twisted COVID-19 data to protect his administration’s reputation. And then there’s the fact that he sent infected people into nursing homes, spiking the death rate in his state.
Comics ignored Cuomo’s true nature for months, and yet they’re leery of defending a governor who was routinely attacked in the press despite handling COVID-19 better than most leaders – Florida Gov. Ron DeSantis.
If DeSantis were a Democrat he’d be too busy appearing on various late night shows to actually govern.
As is, DeSantis’ record of limited lockdowns and maximum freedom made him a very likely presidential candidate in 2024&#8230; and for good reason.
Faux Super Spreaders
The Expert ClassTM keeps warning us of “super spreaders” that will cause pandemic rates to skyrocket.
And, in most cases, <a href="https://www.nationalreview.com/the-morning-jolt/bidens-border-falsities-what-happened-to-the-disinformation-police/">they’re flat out wrong</a>.
Meanwhile, a liberal throng celebrating Joe Biden’s presidential victory or any number of Black Lives Matter protests aren’t considered remotely dangerous for virus contamination.
Yet the crisis, yes “crisis,” at the U.S. border represents true super spreader potential but said Expert Class and the comedians who rule late night won’t dare mention it.
Shuttered Schools
Select schools in the U.S. opened late last year, while others have accepted students in classrooms more recently. We’re still not seeing a massive COVID-19 outbreak from these open schools.
Just the opposite, actually. The science appears darn near settled. 
Yet the Teachers Unions aren’t convinced live schooling is safe. The Biden administration isn’t leading the way to get schools open at long last despite promises to the contrary. 
A truth to power comic might skewer Biden and the unions for playing politics with our children. Somehow they missed that vital memo.
Kids in Cages
<a href="https://news.avclub.com/stephen-colbert-invites-satan-to-defend-putting-kids-in-1826944942">Colbert interviewed Satan himself</a> in 2018 to underline the tragedy of President Trump’s “kids in cages” crisis. And he wasn’t alone in condemning the conditions along the border in the harshest terms possible.
Now?
The press finally acknowledged the border crisis and the heartbreaking conditions facing too many immigrant children. Just don’t expect Team Late Night to show they same fury they shared when President Trump was in the White House.
Heck, Kimmel recently complained that President Biden <a href="https://news.yahoo.com/night-hosts-lighter-side-cold-081407379.html">was just too darn competent. Really.</a>
A Caveat: The host of HBO’s “Real Time with Bill Maher” frequently tackles subjects that his peers avoid at all costs. Maher remains aggressively liberal and occasionally cruel, but he’s willing to pursue select truths in ways other liberal hosts wouldn’t dare.
The views expressed in this opinion piece are the author’s own and do not necessarily represent those of The Daily Wire.
The Daily Wire is one of America’s fastest-growing conservative media companies and counter-cultural outlets for news, opinion, and entertainment. Get inside access to The Daily Wire by becoming a <a href="https://www.dailywire.com/subscribe">member</a>.

The Late Show with Stephen Colbert

7 Topics Late Night TV Hosts Won’t Touch (And We All Know Why)

Late night comedians speak truth to power, keeping our leaders honest in troubled times. Just kidding! They’re propagandists first, joke tellers a distant

7 Topics Late Night TV Hosts Won&#039;t Touch (And We All Know Why)

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It’s not enough for today’s comedians to make people laugh. They must stay one step ahead of the woke mob or face the consequences.
It could mean losing the sitcom gig they dreamed about for decades, or it might result in decades of funny material being stained by one’s “thought crimes.”
The following comedians have avoided the woke mob’s wrath … so far. Still, given their bodies of work, that may not be the case for long.
Scratch a comic who lives on the satirical boundaries and you’ll find someone ripe for cancellation from the intolerant Left.
Howard Stern
The self-proclaimed King of All Media had a brush with the woke mob last year. A few of the radio giant’s <a href="https://pagesix.com/2020/06/12/howard-stern-under-fire-for-past-use-of-blackface-skit-with-n-word/?_ga=2.157802174.521482376.1616171360-2004411350.1614047584">racially charged bits “resurfaced,”</a> and he had to confront a legacy which by any standard measure would end his career in a Thanos-like snap.
Stern didn’t back down, though. His reaction to the cultural moment proved defiant, as he told his listeners he’s a changed man who no longer traffics in that crude, offensive humor.
That’s adorable.
Context doesn’t matter to the woke mob. Nor does forgiveness or personal growth. So Stern got canceled, right? No. Not yet.
Stern’s vicious anti-Trump rhetoric last year bought him some time. The woke mob picks and chooses its victims with purpose. For them, Stern was a deeply flawed ally in the war to oust President Donald Trump from the White House. So they didn’t punish him for his past routines.
Yet.
Chances are they’ll circle back to him sooner or later. He’s not the raw, outspoken talker of yore, but he spits out politically incorrect bromides now and again. There’s a morsel of the old Howard Stern still in there.
The next time he shares a controversial take, assuming it clashes with far-left groupthink, the very mob that gave him a pass in 2020 likely won’t do the same again.
Judd Apatow
The man who gave us “The 40-Year-Old Virgin” and “Knocked Up” once ruled as Hollywood’s unofficial king of comedy. That status has taken a hit in recent years, in part because the director succumbed to Trump Derangement Syndrome. He’s more political now, more unhinged, like when he <a href="https://thefederalist.com/2018/06/26/dear-judd-and-kumail-you-have-no-idea-what-a-nazi-really-was/">compared President Donald Trump to the Nazis.</a>
He’s also not as consistently hilarious as he used to be. More recent Apatow films — think “Funny People” and last year’s “The King of Staten Island” (stolen by the great Bill Burr) — couldn’t measure up to his previous comic heights.
Still, Apatow has remained in Hollywood’s good graces … for now.
That might end should the woke mob, and its Tinsel Town enablers, give some of his best films a fresh look. Not only are the casts overwhelmingly white, male and straight, some jokes are decidedly unwoke. It’s bro humor, the kind that Apatow wouldn’t dare write today.
Take his “do you know how I know you’re gay” <a href="https://www.youtube.com/watch?v=QoXyVYHoEPU">segment</a> from “Virgin” as just one example of material that could lead to his cancellation.
Seth MacFarlane
This reporter previously shared how MacFarlane’s “Family Guy” features sequences that <a href="https://www.dailywire.com/news/family-guy-8-moments-which-spit-in-the-eye-of-woke-cancel-culture">wouldn’t pass woke muster toda</a>v. It’s a primer on the show’s bawdy nature, but it hardly encompasses the show’s full comic spectrum.
Most “Family Guy” episodes traffic in rude, raw material, even if some jokes exist to reflect more recently approved takes. MacFarlane’s team mocks fat people, Jewish people, Asian-Americans and more. Even the family’s teen daughter, Meg, gets slammed for not being conventionally pretty.
It’s a show brimming with sharply thrown elbows, the kind of comedy that puts McFarlane on thin ice with the woke crowd. The show’s writing team leans to the left, though, routinely mocking religion and GOP targets like Donald Trump and the Second Amendment.
That affords the multi-talented MacFarlane some protection, but not enough should the mob come for his career scalp sooner or later.
Daniel Tosh
It’s always instructive when a take-no-prisoners comic takes a woke turn. It’s what we saw from Tosh during the recent, final season of Comedy Central’s “Tosh.0.” The fiercely funny comic started <a href="https://www.hollywoodintoto.com/tosh-0-mccloskeys-black-lives-matter/">defending Black Lives Matter</a> along with pushing other progressive-approved narratives.
Wait.
This is the same show that delivered some of the most bruising gags over the past decade, including a recurring segment called, “Is It Racist?” One such moment featured a black woman devouring a watermelon, the show’s way of celebrating Black History Month.
Other unwoke “Tosh.0” jokes include shaming less attractive women and playing fast and very loose with racial stereotypes.
Perhaps Tosh thinks the show’s woke turn might save him from the Cancel Culture club. And they could be right. If not, there’s an awful lot of “unacceptable” jokes told over the show’s run to put the lanky comic in Social Justice jail.
Mel Brooks
The comic genius behind “Young Frankenstein” and “The Producers” keeps telling us he couldn’t make his western satire “Blazing Saddles” today.
He’s right.
Yet he’s said it so often, and it’s been repeated by conservatives so long, that the woke mob wisely stays away from it. 
For now.
Here’s betting the same mob may circle back to the movie at some point, especially if the left-leaning Brooks shares a point of view that collides with its groupthink. Or, as sad as it is to say, the 90-something Brooks passes on and can no longer defend his justly celebrated film work.
Chelsea Handler
You could argue Handler’s 180 degree comedy turn is a calculated attempt to keep the Cancel Culture kids at bay.
The comedienne forged her fame by playing up her sexually aggressive, drunken persona. Think books like, “Are You There, Vodka, It’s Me, Chelsea.” She was the beautiful wild child, and her jokes matched her shtick.
The election of Donald Trump transformed Handler into an “activist,” realigning her comedy material along the way. The newly woke comic begged us to forgive her “white privilege” and cheered new laws to restrict racism. 
“2 Chinese guys were arrested in Berlin for making nazi salutes,” the “Chelsea” host said. “Wouldn’t it be nice 2 have laws here for people who think racism is funny?”
Unfortunately, she ignored her own <a href="https://www.thewrap.com/chelsea-handler-ripped-as-a-hypocrite-for-condemning-jokes-about-racism/">checkered chuckles</a>.
“This is my aunt, my cousin Ricky and I returning from our nazi genealogy hunt. We’re back.”
Here’s one more:
“Angelina Jolie has filed for divorce with Brad Pitt… He wants the China; she wants Pax and Maddox #sorrycouldnthelpmyself.”
She even used the Oscars ceremony honoring 2014’s “12 Years a Slave” to hawk her own comedy special.
“Congratulations #12yearsaslave Go to Africa or buy #ugandabekiddingme <a href="http://amzn.to/1de1ka9">http://amzn.to/1de1ka9</a> #aheadofthecurve #Oscars.”
Handler’s real privilege is being liberal enough to escape her tawdry past.
The views expressed in this piece are the author’s own and do not necessarily represent those of The Daily Wire.
The Daily Wire is one of America’s fastest-growing conservative media companies and counter-cultural outlets for news, opinion, and entertainment. Get inside access to The Daily Wire by becoming a <a href="https://www.dailywire.com/subscribe">member</a>.

2017 Summer TCA Tour – Day 15

These Six Comics Could Be Canceled Next

Comedy

It’s not enough for today’s comedians to make people laugh. They must stay one step ahead of the woke mob or face the consequences. It could mean losing

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You don’t need to glance at the ratings to realize awards shows are in big trouble.
Think existential threat level, and that’s not hyperbole.
The ratings, of course, suggest the problem is widespread and getting worse. The recent Golden Globes <a href="https://people.com/movies/golden-globes-suffer-a-64-ratings-plunge-amid-hfpa-controversy-and-the-covid-19-pandemic/">telecast plummeted 64 percent</a> from the previous year, while the Grammy awards, held March 14, crashed <a href="https://variety.com/2021/tv/news/grammy-awards-ratings-2021-1234930898/#!">nearly 53 percent</a> from 2020’s telecast. 
We’re already seeing stories predicting the same fate will befall the Oscars, set for April 25. Would anyone bet against it? 
Those numbers are part of a steady viewership decline across all major awards shows in recent years.
Can the modern awards show return to its former glory? Here’s a few good places to start.
An Apology Wouldn’t Hurt
We’re not talking the “hostage”-style mea culpa we see whenever Cancel Culture finds a new victim. This would be a sincere expression saying awards shows have lost their way, and the powers that be hope to change that … stat.
The apology would reach out to heartland U.S.A., first and foremost, explaining how artists too often dismiss their views and sensibilities. Next, they’d promise a return to the basics, shows focusing on the art in question – be it music, theater, movies or television.
Apologies still matter, assuming they come from the heart and make a solid point.
Find the Funny … Again
The modern awards show is very careful in how it selects a comic host. In some cases, like the Oscars, the unwritten rules are so restricting that few comedians would take the gig if offered. Other awards shows handcuff their emcees so they’re afraid to say anything that could offend.
It’s time for that to stop. Find the funniest stand-ups around, give them a month to write a killer 10-minute set and let ‘er rip. Politics shouldn’t be a part of the equation — at all. It’s an awards presentation, not a SuperPAC meeting.
Confused? Re-watch some of Billy Crystal’s classic Oscar hosting monologues. He cracked the all-important code — be funny, a little snarky and ultimately deferential to the artists on hand.
It is their night to shine, after all.
And, when the first round of Twitter complaints demands more politics or whine about a semi-pointed joke, tune them out. Oxygen, and press, only feed them. 
Short and Sweet
The Oscars ceremony, arguably the most influential awards show to date, can drag on for more than three hours. That ends now. No show deserves to go on that long, even if it means some categories get the boot.
It’s a Commercial, Stupid
Awards shows are the ultimate platform to push product. Gather an industry’s best and brightest, showcase them at the peak of their creative powers, and the merch sells itself.
The best commercials welcome as many people as possible into the fold. They don’t lecture or scold, nor do they pick hot-button issues to screech about. Put talented artists in the spotlight and let them do the rest.
Nostalgia 101
Perhaps it’s a sign of our troubled times, but our cultural hunger for the past has never been more apparent. It’s why Hollywood reboots every property it can find, hoping to rekindle fond memories along the way.
We’ve been reliving the ‘80s ever since “The Wedding Singer” hit theaters … back in 1998!
There’s nothing wrong with that, on paper. Now, put it into practice. Too many Oscar presenters are barely old enough to shave, as the producers hope a few new faces will lure younger viewers to the show.
As if.
Bring out the old guard. Pair a new chart topper with a Grammy winner from the ‘70s. Re-enact classic TV show moments to illustrate how great writing is timeless. What a way to honor the past … and the present.
Avoid Hypocrisy at All Costs
There’s many reasons not to trust celebrities when they lecture us from awards show podiums. They’re often ill-informed, for starters, leaning on Fake News reports to flesh out their world views.
More importantly, they routinely avoid calling out politicians if they have a “D” next to their names. That was never more apparent than when the Grammys came and went without a single singer talking about the “kids in cages” across the U.S.-Mexico border. 
It would be all we heard about had President Donald Trump prevailed last November.
The best way to avoid being labeled hypocrites is to avoid stump speeches entirely. Exceptions can be made for art that addresses a particular issue, of course, like when Tom Hanks <a href="https://www.nytimes.com/2019/02/08/movies/tom-hanks-philadelphia.html">paid tribute to his gay teacher</a> while accepting the Oscar for “Philadelphia.” That’s very often not the case, though. The best example came last year when Brad Pitt used his Oscar podium time to attack the latest President Trump nothingburger controversy. Bet he regrets that speech now.
You’re Rich and Beautiful … Own It
We want the glamour, the beauty, the fashions. It’s an escape from our everyday lives and we can live vicariously through the stars for one night. Don’t be ashamed. Lean into it … without insulting us in the process. Deep down we know the perils of fame, the pitfalls celebrity brings and the lives ruined by success. You can take a moment to savor the industry’s perks.
You Can’t Fix Racism in One Night
The most recent Golden Globes telecast featured stars attacking … the Golden Globes from allegations of racism within the voting group’s ranks. It’s certainly an important issue, but is this the best time to address it? Problems are fixed behind the scenes, with hard work, dedication and a willingness to hear all sides of an issue.
Why spend the Globes telecast wringing your hands about the issue? The night exists to celebrate the best TV and movies of the past year. Hearing a bunch of pampered stars punish their benefactors and, by extension, themselves is excruciating to watch.
Let’s Put on a Show
Lectures aren’t just a buzzkill during an awards show. They’re the opposite of entertainment. Self-loathing? Same issue. Awards shows should be fun, funny and exhilarating. We should grumble when the commercial break starts and feel exhausted, in a good way, when the final award is given out. 
What a night!
Put entertainment up front. Make it the driving force of the gala. Make it hard for us to so much as glance at our smart phones for two solid hours.
Don’t Drive Kids Out of the Room
No one should attempt to censor art, to say a singer can’t tackle a certain topic or a filmmaker must avoid adult material on screen.
That’s very different than showing said material on an awards show stage where children could be watching. Kids should see stars being honored for their artistic excellence. It gives them something to strive for, a goal to set for themselves later in life. Heck, it might kickstart a career or two in the arts.
That’s not possible if, say, Cardi B acts out her <a href="https://www.dailywire.com/news/i-am-100-suing-cardi-candace-owens-blasts-cardi-b-after-rapper-posts-doctored-tweet-false-claims">raunchiest song on a Grammy show stage</a>. The fact that the event’s producers greenlit that musical number shows why audiences can&#8217;t flee the modern awards show fast enough.
The views expressed in this piece are the author’s own and do not necessarily represent those of The Daily Wire.
The Daily Wire is one of America’s fastest-growing conservative media companies and counter-cultural outlets for news, opinion, and entertainment. Get inside access to The Daily Wire by becoming a <a href="https://www.dailywire.com/subscribe">member</a>.

63rd Annual GRAMMY Awards – Telecast

10 Ways To Save The Modern Awards Show

You don’t need to glance at the ratings to realize awards shows are in big trouble. Think existential threat level, and that’s not hyperbole. The ratings,

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Being funny is hard. Staying funny can be even tougher.
Something happens to comedians who embrace a woke sensibility, speeding up the unfortunate career arc from “hilarious” to “not so much.”
Suddenly, so many topics that once came naturally to comics are off limits. What’s worse? They often care more about pimping a point of view than leaving us in stitches.
The following comics fit neatly into this new mold. They once made us howl, but lately they’re too eager for clapter, not guffaws.
Jimmy Kimmel
Kimmel cut his teeth on radio before finding success in mainstream gigs. His affable persona graced first “Win Ben Stein’s Money” and, later, “The Man Show.”
That gig let Kimmel tell bawdy jokes leavened by his Everyman pose. His impish appeal told audiences he didn’t take his misogyny seriously, and nor should you. He just wanted to poke societal conventions and ogle girls jumping on trampolines.
He eventually found broadcast stardom with “Jimmy Kimmel Live,” the ABC gig he’s held since 2003.
The new Kimmel, though, is a far cry from the older model. Like his late-night peers, Kimmel cares more about scoring political points than making us laugh. He’s also accepted how his newly angry self left many fans behind. When asked how he felt about losing Republican viewers he famously answered, <a href="https://www.independent.co.uk/news/world/americas/us-politics/jimmy-kimmel-republican-viewers-lose-riddance-monologues-healthcare-gun-control-a8004011.html">“not good riddance, but riddance.”</a>
His agreeable persona is gone, apparently for good. Consider the arrogance it takes to <a href="https://thefederalist.com/2020/06/30/new-religion-woke-left-faith-without-atonement/">share this quote on a major podcast</a>.
“It just so happens that almost every talk show host is a liberal,” Kimmel quipped on the Pod Save America podcast, “and that’s because it requires a level of intelligence.”
Gone is the Kimmel who cranks out killer viral videos like the twerking girl who set herself on fire. Kimmel 2.0 promotes progressive platitudes over that kind of inclusive shtick.
Part of his woke transformation may be a form of self-protection. Ogling bikini girls and dressing in <a href="https://www.cnn.com/2020/06/23/entertainment/jimmy-kimmel-blackface-apology/index.html">blackface</a> on a cable TV show is hardly Woke 101. If Kimmel ever stops promoting progressive talking points they might circle back and let him know just that.
Sarah Silverman
The future star of Hulu’s “I Love You, America” caught the nation flat-footed when she first hit comedy stages. She was lanky and lovely, and she said the naughtiest things in her act. It wasn’t just R-rated fare, but button-stabbing swipes that made audiences roar.
No topic was taboo.
Look at this cheery young woman talking like a sailor. A drunken sailor, to be exact. Her humor wasn’t boozy, though. It takes skill to tell bawdy bits that make millions laugh.
Silverman couldn’t catch us off-guard forever. She decided to parley her fame into Alyssa Milano-style activism. Even worse? She flirted with, and then grew angry about, Cancel Culture.
Her reactions felt knee-jerk and selfish, depending on her whims. Still, her recent work no longer has that sharp comic attitude. In fact, she often gets our attention with absurd virtue signaling like apologizing for a 14-year-old <a href="https://www.bbc.com/news/entertainment-arts-56290929">joke</a> about Paris Hilton. Comedians saying they’re sorry for old jokes is the wrong brand of funny. 
Chelsea Handler
Who was the old Chelsea Handler? Her book titles tell the tale.
“Are You There, Vodka? It’s Me, Chelsea”
“My Horizontal Life”
“Chelsea Chelsea Bang Bang”
The E! superstar shredded pop culture headlines on her long-running talk show. She was rude and unapologetic, and her brand of comedy hit home with folks disgruntled with celebrity excess.
She took her shtick to Netflix, and that’s when her transformation began. She started the streamer’s talk show by admitting she knew little about politics. She’s spent the subsequent years lecturing us from her comical high horse, getting plenty wrong in the process.
These days she’s lecturing fans on their white privilege on Netflix and elsewhere.
The funniest thing she did in recent months? She shared a Louis Farrakhan clip on social media <a href="https://nypost.com/2020/06/24/chelsea-handler-admits-she-was-wrong-to-post-louis-farrakhan-clip/">pushing pre-woke rhetoric</a>, attacked those who blasted her for sharing an avowed racist and hater and later apologized for doing just that.
Hilarious!
Howard Stern
Blame age, decades of therapy, or a hunger for mainstream acceptance. Stern isn’t the same unexpurgated broadcaster he once was. How could he be? Sometimes youth brings a ferocity to a comedian’s work that’s hard to duplicate. 
Time proved kind to Stern, Inc., though. He got insanely rich, joined an audio platform where he could drop all the “f-bombs” he wanted and watched his detractors move on to other cultural targets. That became clear when the press fawned over his 2019 book, “Howard Stern Comes Again,” a tome capturing his most memorable interviews.
Something else transformed his shtick.
He started making nice with select enemies, including Rosie O’Donnell. He also spent his increasing leisure time hobnobbing with fellow celebrities, making it harder for him to tease and taunt them as once before.
His 2020 turn against President Donald Trump earned him some of the kindest press he ever received. 
A kinder, gentler Howard Stern proved rich, lazy and far less funny than before.
Seth Meyers
The former “Saturday Night Live” news anchor never reached the heights of his predecessors – think Chevy Chase, Dennis Miller and Norm Macdonald.
Still, Meyers knew his way around a satirical punchline and gave us plenty of laughs from the faux “Weekend Update” anchor desk. He also worked seamlessly with co-host Amy Poehler, a “SNL” era before the show abandoned any pretense of fair and balanced satire.
Meyers leveraged that fame and his extensive NBC ties to snare his own late night showcase.
He wasn’t a natural at the gig, much like predecessor Conan O’Brien. Still, Meyers quickly found his footing and established his “Late Night” perch as part of the comedy landscape.
Enter Donald Trump.
Meyers caught a nasty variant of Trump Derangement Syndrome, turning his comedy showcase into a scold-a-thon. He spent as much time calling Trump and various Republicans “<a href="https://www.yahoo.com/lifestyle/seth-meyers-sociopathic-republicans-force-041726628.html">sociopaths</a>” as attempting funny bits. 
Even more dispiriting? Meyers introduced a segment in 2016 called, “Jokes Seth Can’t Tell.” Why? He’s a <a href="https://www.vulture.com/2016/07/jokes-seth-cant-tell-is-the-best-new-segment-in-late-night.html">“straight, white male,”</a> meaning it “would be difficult for me to deliver,” Meyers himself said. 
The jokes Meyers can still tell today are rarely worth hearing.
Sacha Baron Cohen
The British comic caused a pop culture earthquake by releasing “Borat” upon an unsuspecting public. The 2006 comedy – part scripted, part “Candid Camera” shtick – became a sensation for all the right reasons. It was laugh-out-loud funny, shocking and fresh.
A comedy star was born.
Yes, Cohen had previously created “Da Ali G Show,” but “Borat” elevated his profile in ways many comics dream about. And it was all downhill from there.
His follow-up feature, “Bruno,” lacked “Borat’s” gut-busting bite. Other Cohen comedies fared worse, including “The Dictator” and “The Brothers Grimsby.”
So when word leaked about a secret “Borat” sequel Cohen fans had every right to be nervous. Could it revive Cohen’s dormant funny bone? And how could any sequel match the original “Borat’s” laugh quotient?
Turns out those weren’t the questions keeping Cohen up at night. He wanted to defeat President Donald Trump at the ballot box, and he focused his attention on bits meant to do just that.
The result? “Borat Subsequent Moviefilm” starts strong but the laughs quickly evaporate. What’s worse? Cohen’s anti-free speech activism, captured by his broadsides against Facebook, morphed into a woke plotline about empowering Borat’s on-screen daughter (the overhyped Maria Bakalova).
The views expressed in this piece are the author’s own and do not necessarily represent those of The Daily Wire.
The Daily Wire is one of America’s fastest-growing conservative media companies and counter-cultural outlets for news, opinion, and entertainment. Get inside access to The Daily Wire by becoming a <a href="https://www.dailywire.com/subscribe">member</a>.

2018 Disney/ABC/Freeform Upfront

6 Comedians Who Went Woke And Lost Their Funny

Being funny is hard. Staying funny can be even tougher. Something happens to comedians who embrace a woke sensibility, speeding up the unfortunate career

https://editorial.dailywire.com/news/6-comedians-who-went-woke-and-lost-their-funny/

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Everybody loves a movie sequel. They’re just loathe to admit it.
It’s why Hollywood banks on our nostalgia again, and again, even if the results often come up short. For every “Godfather Part II” or “Fast &amp; Furious 5” there’s a “Speed 2” or, gasp, “Caddyshack II.”
A new problem plagues Hollywood’s impulse for sequels, one that extends beyond casting changes and a dearth of imagination. Too often the modern sequel goes woke, all but crushing the joys found in the original films.
The following examples reveal just that, turning properties into buzz kills that snuffed out their respective franchises …or make the thought of more sequels a nightmare.
“Charlie&#8217;s Angels”
It’s the reboot no one asked for, which became clear when no one showed up to see it. Yes, that $17 million box office haul proved embarrassing to all involved, but it&#8217;s not as ghastly as the film itself.
The 2000 “Charlie’s Angels” film, based on the kitschy TV series of yore, earned $125 million at the U.S. box office. That film featured a trio of beautiful stars who leaned into the franchise’s glamour, action and fun.
The 2019 remake/reboot literally started on a woke note. Progressive actress Kristen Stewart tells a would-be lover, “I believe women can do anything…”
It only got worse from there, with director Elizabeth Banks leaning harder into the film’s feminism than boffo action.
“Borat Subsequent Moviefilm”
On some level, Sacha Baron Cohen knew this was a bad idea. It’s why he waited 14 years to bring Borat back to (virtual) theaters. Only he wasn’t driven by any divine inspiration or creative spark. He wanted to weaponize the clueless character against all things Trump.
Did it matter that “Subsequent Moviefilm” is virtually laugh free for its final 45 minutes? Not to Cohen, who used the film and its publicity push to share his talking points on President Trump, former New York City Mayor Rudy Giuliani and generic GOP foes.
Had Cohen concocted fresh, funny bits about his ideological foes we’d welcome Borat back unconditionally. Instead, the film uncorks stale one-liners that made us miss the 2006 original even more.
He wasn’t done destroying a potential franchise, though. The sequel doubles as a female empowerment tale, as Borat’s daughter (the overrated Maria Bakalova) comes of age under her daddy’s bizarre tutelage.
The woke messaging, capped by the film’s political propaganda, delivers a one-two punch that flattens the sequel.
“Terminator: Dark Fate”
This flop is a major improvement over the previously listed sequels. It’s got some terrific action sequences, the return of still-feisty Linda Hamilton and some tender moments from co-star Arnold Schwarzenegger.
Yes. Really.
It still leans heavily on woke talking points, which likely played a role in its abysmal box office haul &#8211; $62 million. (That’s less than even the disappointing 2016 film “Terminator: Genisys” which earned $89 million).
The story stalls mid-movie for a painful plea for open borders. The film centers on Natalia Reyes, cast as a pivotal player in the series. Only the character is a dud, unable to replicate the memorable moments Hamilton and Schwarzenegger delivered in earlier installments.
Mackenzie Davis is better as the half woman/half robot heroine, but the film’s reliance on grrrl power theatrics is as obvious as the film’s sad marketing campaign. 
The first promotional shot for the sequel featured the movie’s three female characters strutting toward the camera. Here’s a tip: If you’re pushing a “Terminator” project you might want to make Schwarzenegger more than merely an afterthought.
“Coming 2 America”
“Dolemite Is My Name” announced Eddie Murphy was back and ready to reclaim his comedy crown. This sequel, 32 years in the making, reminded us Murphy once starred in “Norbit, “Meet Dave” and “The Adventures of Pluto Nash.”
Now, “Coming 2 America” isn’t as bad as those clunkers, but it’s clear Murphy’s inability to sniff out stinkers is why his career flatlined in the first place.
There’s no reason for a sequel to the 1988 charmer to exist beyond giving Murphy, Arsenio Hall and the film’s large cast extra work. The spark that sets the plot in motion finds Murphy’s Prince Akeem having sex after taking too many drugs.
Laughing yet?
What truly bogs the film down, though, is its oppressive woke flourishes. The regal aides who bathe Prince Akeem now offer those services to Leslie Jones’ character. The prince’s oldest daughter wants to inherit the throne, angry that her father’s “bastard” son gets first crack at it. All of Murphy’s daughters are gifted martial artists, able to take down grown men as needed.
Even the jovial barbershop banter, a flat recreation of the first film’s memorable bit, spits out politically correct blather.
Sequels are meant to extend the smiles delivered by the source material, not make us feel guilty about laughing in the first place.
“Ghostbusters”
You could say the film’s woke bona fides are in this movie’s DNA. Director Paul Feig opted to gender swap the original movie’s all-male ‘busters to give women everywhere a blast of empowerment.
Or something like that.
The results? One of the most despised comedy trailers in recent memory and a finished product that couldn’t replicate the source material’s humor and heart.
The film itself didn’t bog itself down with woke lectures, despite a scene where our heroines clap back against Internet trolls. What’s more empowering than letting perfect strangers creep under your skin?
The film’s marketing campaign, and the biased press’ attempt to call critics misogynist for questioning the film’s existence, completed the woke packaging.
“Ghostbusters” earned a seemingly solid $128 million, but given the hefty price tag the film cost <a href="https://www.hollywoodreporter.com/news/ghostbusters-box-office-loss-sequel-unlikely-918515">Sony a cool $70 million.</a> 
“Neighbors 2: Sorority Rising”
The box office disparity between the original film and its sequel says most, but not all, of the story.
The 2014 comedy “Neighbors” gave us the last truly funny Seth Rogen performance, along with another killer turn from Rose Byrne. Their characters’ attempt to ignore their fraternity neighbors’ “toxic masculinity” drew a sizable $150 box office haul.
So a sequel seemed inevitable.
The team behind the franchise didn’t trust the story’s DNA, though. Instead, they hired a pair <a href="https://www.hollywoodintoto.com/how-feminism-crushed-neighbors-2/">of female screenwriters</a> to oversee the sequel and make sure it wasn’t just funny but … empowering. What can kill comedy faster than that?
Audiences, sensing the franchise took a turn for the woke, stayed mostly away. The box office shrank accordingly, with “Sorority Rising” earning a sad $55 million.
The views expressed in this opinion piece are the author’s own and do not necessarily represent those of The Daily Wire.
The Daily Wire is one of America’s fastest-growing conservative media companies and counter-cultural outlets for news, opinion, and entertainment. Get inside access to The Daily Wire by becoming a <a href="https://www.dailywire.com/subscribe">member</a>.

Celebrity Sightings In New York City – September 19, 2015

6 Movie Sequels And Reboots That Were Ruined By ‘Woke’ Politics

Everybody loves a movie sequel. They’re just loathe to admit it. It’s why Hollywood banks on our nostalgia again, and again, even if the results often

6 Movie Sequels And Reboots That Were Ruined By &#039;Woke&#039; Politics

https://editorial.dailywire.com/news/6-movie-sequels-and-reboots-that-were-ruined-by-woke-politics/

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Rapper Tom MacDonald’s father took his son aside after he released the first of many “controversial” songs.
“You may be a rapper, but what you’re doing right now is rock ‘n’ roll. It’s more about the truth and less about the music,” MacDonald recalls of his father’s advice.
Tracks like “Fake Woke,” “Clown World” and “Cancelled” pack so much “truth” into their bombastic melodies they made MacDonald more than just a rapper on the rise.
He’s a musical revolutionary.
Sound hyperbolic? What other musician, in rap or any other genre, stares down Cancel Culture with such precision?
The list of subversive musicians daring to question media narratives on race, identity politics and more is microscopically small, and no one does it better, or bolder, than MacDonald.
Here’s a lyrical snippet from <a href="https://www.youtube.com/watch?v=2l6JUNFAJ9o">“Fake Woke,”</a> which hit no. 1 on Billboard’s Emerging Artists chart earlier this month, to go along with nearly 10 million YouTube views:
<blockquote>I think it&#8217;s crazy I&#8217;m the one who they labeled as controversial 
And Cardi B is the role model for twelve year old girls 
There&#8217;s rappers pushing Xanax at the top of the Billboard 
But if I mention race in a song I&#8217;m scared I&#8217;ll get killed for it 
It&#8217;s backwards, it&#8217;s getting exponentially dumb 
It&#8217;s more difficult to get a job than purchase a gun 
Eminem used to gay bash and murder his mom 
And now he doesn&#8217;t want fans if they voted for Trump</blockquote>
It’s pure MacDonald, pulsing with raps that make you question what the media demands you believe. His songs crackle with rage and regret, spiked by humor and self-reflection. Plus, there’s a unifying theme to some numbers, an element of his music conveniently overlooked by his detractors:
<blockquote>So go ahead and hate the racists, I pray for their extinction 
If you wanna hate the white people, just make a distinction 
Between the ones who want the best for everyone regardless 
And the ones who built the system just to smother you with hardship</blockquote>
His YouTube channel boasts nearly 2 million subscribers, with videos like “<a href="https://www.youtube.com/watch?v=koO35JqBQMI">Clown World</a>” generating more than 3 million views in mere days, with lyrics like:
<blockquote>I&#8217;m offended that you&#8217;re offended by me takin&#8217; offense 
Trump can&#8217;t build a wall, why does your house have a fence? 
I believe in two genders, I&#8217;m not mad at the rest 
I&#8217;m just confused when a dude has a beard and some breasts</blockquote>
Over at Spotify his songs score big, too. Some tracks, like “<a href="https://www.youtube.com/watch?v=Vny0W0axomc">Everybody Hates Me,</a>” boast 21 million listens. He does it all with no record label, marketing team, manager or PR firm at his disposal.
He’s attracted a fair number of enemies along the way.
<div class="image"><img loading="lazy" class="wp-image-197428 aligncenter" src="https://www.dailywire.com/wp-content/uploads/2021/03/IMG_4005-300x300.jpg" alt="" width="402" height="402" srcset="https://dw-wp-production.imgix.net/2021/03/IMG_4005-300x300.jpg 300w, https://dw-wp-production.imgix.net/2021/03/IMG_4005-576x576.jpg 576w, https://dw-wp-production.imgix.net/2021/03/IMG_4005-150x150.jpg 150w, https://dw-wp-production.imgix.net/2021/03/IMG_4005-768x768.jpg 768w, https://dw-wp-production.imgix.net/2021/03/IMG_4005.jpg 1000w" sizes="(max-width: 402px) 100vw, 402px" /></div>
They dub him racist, far-right and other pejoratives that don’t align with his music or lyrics. Veteran Hollywood journalist Roger Friedman called “Fake Woke” “dangerously stupid” and hoped radio ignored the rapper’s songs lest stations <a href="https://www.showbiz411.com/2021/02/01/number-1-on-itunes-2-million-views-on-youtube-mixed-message-right-wing-fake-woke-indie-white-rap-by-canadian-living-in-los-angeles">“normalize” him</a>.
Meanwhile, conservatives embrace his no holds barred raps, along with what he calls a “massive” number of liberals soaking in his subversive streak.
MacDonald, who grew up in Canada but moved to Los Angeles several years ago, started out rapping like his favorite musicians. His work echoed themes explored by 50 Cent, Eminem and others — think guns, girls and other hip-hop staples.
“I didn’t have my own story yet,” he says.
He credits his artistic awakening to an emotional breakdown, one that lasted about nine months. He moved back home and went to work on himself, journaling the process and reading as much as he could.
“Sometimes when you go through your darkest hour you get to find out what you’re made of,” he says, his voice growing emotional. That found him quitting drinking, smoking and partying.
“I figured out what was important to me, what I wanted to talk about,” he says. “I have a much clearer head now.”
His new music felt different, more authentic as a result, but it took time for his current voice to emerge. 
“I felt like I was broken into a million pieces,” says MacDonald, who approaches some questions with long pauses, collecting his thoughts for the sharpest response. “In the process of putting those pieces back together I made some music I wasn’t particularly proud of.”
Moving from Canada to South Central, L.A. taught MacDonald plenty about two cultures that, on the surface, appear quite similar.
“I assumed America was a bigger Canada,” he says. “It was a little bit of a culture shock. A lot of issues in America — political, social, racial unrest, economic unrest — these issues do exist in Canada, but they’re not as prominent as they are in America, not as volatile, not as polarizing.”
<div class="image"><img loading="lazy" class="wp-image-197429 aligncenter" src="https://www.dailywire.com/wp-content/uploads/2021/03/IMG_4007-300x300.jpg" alt="" width="368" height="368" srcset="https://dw-wp-production.imgix.net/2021/03/IMG_4007-300x300.jpg 300w, https://dw-wp-production.imgix.net/2021/03/IMG_4007-576x576.jpg 576w, https://dw-wp-production.imgix.net/2021/03/IMG_4007-150x150.jpg 150w, https://dw-wp-production.imgix.net/2021/03/IMG_4007-768x768.jpg 768w, https://dw-wp-production.imgix.net/2021/03/IMG_4007-1536x1536.jpg 1536w, https://dw-wp-production.imgix.net/2021/03/IMG_4007.jpg 2042w" sizes="(max-width: 368px) 100vw, 368px" /></div>
He credits his “outsider” approach to helping fuel his music, his sound. That voice is being cheered on the right, but it wasn’t part of any game plan.
“I’ve definitely been right leaning in a lot of my music and stuff … I’ve also been pretty radically left leaning [too],” he says. “It wasn’t really my intention, just thoughts I was having.”
He’s not ready to embrace an ideological party.
“There’s room for moderate voices in America,” he says. “You don’t have to pick a side.”
Do a quick Google search on “Tom MacDonald” and you won’t find pages, and pages, of interview features on him.
That’s on purpose.
“I’m very, very particular about who I speak with,” he says, hoping to add a dash of mystery to his image like rock icons of yore.
Plus, some interviewers bring an agenda to their pitches.
“A lot of the places that hit me up … are anti-right wing and anti-Republican. They have a preconceived notion of who I am,” MacDonald says. “’We’ll talk him into a corner and make him look like s***.’”
Another worry? His outspoken raps may inspire imitators who lack his attention to detail.
“I’m very careful with what I say, very calculated with how I say what I say,” he says. “People who love me might come out without the self-awareness and really say some radically unacceptable things.”
MacDonald doesn’t jump into his studio hoping to change the culture with each new track. Nor will he back down from his critics, whose numbers will likely balloon as his profile climbs.
“A lot of people will tear down what you’re doing, not necessarily because they disagree. They’re more interested in putting themselves on a pedestal. ‘Look at how woke I am.’ That’s all well and good, but it’s come too far at this point.”
Challenging media narratives is vital to both the American spirit and finding the best ways to evolve as a culture, as MacDonald sees it.
“It’s really important to talk about the uncomfortable things today,” he says, admitting it’s getting harder to do just that.
“I don’t know if there’s any amount of insulation that will protect you from the criticism of the Internet, or the people who subscribe to the mainstream narrative.&#8221;
The views expressed in this opinion piece are the author’s own and do not necessarily represent those of The Daily Wire.
The Daily Wire is one of America’s fastest-growing conservative media companies and counter-cultural outlets for news, opinion, and entertainment. Get inside access to The Daily Wire by becoming a <a href="https://www.dailywire.com/subscribe">member</a>.

EXCLUSIVE: The Anti-Woke Rapper Topping The Charts And Shocking The Music Industry

Cancel Culture

Music

Rapper Tom MacDonald’s father took his son aside after he released the first of many “controversial” songs. “You may be a rapper, but what you’re doing

https://editorial.dailywire.com/news/exclusive-the-anti-woke-rapper-topping-the-charts-and-shocking-the-music-industry/

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One of the most chilling elements of the Harvey Weinstein scandal boiled down to two simple words.
“They knew.”
Weinstein’s predatory behavior was an open secret among celebrity circles. It wasn’t just them, though.
The producer’s victims had plenty of reasons to remain silent, from fear of career repercussions to emotional distress. 
Why did some reporters do the same? 
NBC famously spiked a story that could have ended Weinstein’s reign earlier than his 2017 downfall.
Veteran journalist Kim Masters suggested, following Weinstein’s downfall, that she had the goods on him more than 20 years ago when she confronted the producer with this devastating line:
<a href="https://money.cnn.com/2017/10/20/media/kim-masters-harvey-weinstein-reliable-sources-podcast/index.html">“I heard you rape women</a>.” Weinstein didn’t deny it, she recalled.
It isn’t the only example of journalists knowing plenty but keeping information to themselves.
The following cases chart a similar path, with a major figure behaving badly, but the journalists assigned to cover him failing to tell us the full story. The details eventually came out, but by then others had been hurt, needlessly, by these men.
Gov. Andrew Cuomo
Conservatives have been screaming from the roof tops that the New York governor behaved very badly at the dawn of the pandemic. News outlets like The Daily Caller reported how the high-profile Democrat <a href="https://dailycaller.com/2020/08/18/new-york-andrew-cuomo-releasing-book-coronavirus-response/">shouldn’t be anyone’s idea of a COVID-19 hero</a>.
Cuomo issued an <a href="https://dailycaller.com/2020/05/15/new-york-coronavirus-reporting-nursing-home-deaths-undercounting/">executive order</a> on March 25 ordering nursing homes and other long-term care facilities to accept patients from hospitals who had tested positive for the coronavirus. While he rescinded the policy on May 11, more than <a href="https://dailycaller.com/2020/07/07/gov-cuomos-order-6000-coronavirus-patients-nursing-homes/">6,400</a> nursing home patients have died since the pandemic began after having been sent back to their care facility. More than 20,000 nursing home staffers were infected in March and April, according to the <a href="https://apnews.com/b29d0a5eb51a5aed21d5efe132c33374">Associated Press</a>.
Conservatives railed against the Governor for month, after month, knowing his early pandemic decision to flood nursing homes with infected patients likely doomed thousands of elderly New Yorkers. 
Politicians couldn’t be expected to nail every aspect of a once in a generation pandemic, but the hero worship lavished on Cuomo didn’t mesh with reality.
All the while, Hollywood fawned over him. Howard Stern treated him like royalty and the press whispered how Cuomo could be summoned should Joe Biden falter in the presidential race.
It gets worse, though.
In recent weeks we’ve learned not just about Cuomo’s alleged sexual abuses but how he and his team bullied the press over the years.
<a href="https://www.foxnews.com/media/cuomo-staff-accused-of-incessant-bullying-constant-threats-local-tv-reporter-claims">Here’s one example</a>:
&#8220;&#8216;You have a vendetta against him don&#8217;t you!&#8217; That was the last time I allowed someone connected to Governor Andrew Cuomo&#8217;s administration to harass and manipulate me,&#8221; former News10 reporter Lindsay Nielsen wrote in a statement on Sunday. &#8220;It was during one of the many accusatory and threatening phone calls I received by his staff members that I realized this behavior was never going to stop. It was shortly thereafter that I decided to leave my job at News10.&#8221;
How many other reporters were treated in a similar fashion? Will they eventually share their stories, too?
Is there any chance local reporters had a good idea what was going on behind the scenes … and said nothing? If the average conservative knew the score, how could journalists miss it?
Alec Baldwin
The combustible “30 Rock” alum has had more brushes with controversy, and the law, than most of his peers not named Sheen. He’s feuded with shutterbugs, reporters and even flight attendants over the years.
There’s another part of the Baldwin story, though, that deserves attention. The progressive star has been bullying female journalists over the years, even though they’ve mostly stayed silent about it.
Mostly.
In 2018 a trio of well-known journalists <a href="https://www.thewrap.com/alec-baldwin-journalists-share-horror-stories-i-hope-you-choke-to-death/">shared their experiences</a> with the “Saturday Night Live” alum on social media after Baldwin’s arrest over a parking spot dispute.
ABC White House correspondent Tara Palmeri said the star told her, “I hope you choke to death” when he saw her staking out his home.
New York Times White House reporter Maggie Haberman said Baldwin blocked her on Twitter, but not before sending “hundreds of thousands of followers to berate me for…writing about a fundraiser he’d hosted in a way he didn’t find satisfactory,” she said.
CNN’s Kaitlan Collins said the actor called her a “hag” after her report revealed he used multiple nannies.
Those revelations, though, never led <a href="https://www.hollywoodintoto.com/alec-baldwin-cancel-culture/">to Baldwin’s cancellation</a> or even a full-throated reply from groups like Time’s Up or NOW. Chances are if he trips up, again, these recollections could come back to haunt him.
Or not. Baldwin’s fiercely liberal posture may continue to protect him … from himself.
Jeffrey Epstein
We all know the late financier’s hideous crimes involving underage girls. That wasn’t publicly known for many years, partially thanks to a network’s decision not to air a damning story about his alleged behavior.
And we have a leaked “hot mic” moment to thank for the revelation.
The tape in question, released by James O’Keefe of Project Veritas fame, features ABC News anchor Amy Robach saying her <a href="https://www.foxnews.com/media/abc-amy-robach-jeffrey-epstein-hot-mic">bosses spiked a story</a> that would have revealed Epstein’s crimes several years before the law finally caught up with him.
“I’ve had the story for three years… we would not put it on the air,” Robach said on the hot mic. “It was unbelievable what we had, Clinton, we had everything.”
She kept talking.
“Um, first of all, I was told, who’s Jeffrey Epstein? No one knows who that is. This is a stupid story,&#8221; Robach said on the video recording. &#8220;Then, the Palace found out that we had her whole allegations about Prince Andrew and threatened us a million different ways. We were so afraid we wouldn’t be able to interview Kate and Will that we, that also quashed the story.”
“I tried for three years to get it on to no avail. And now it’s all coming out and it’s like these new revelations and I freaking had all of it,” Robach said. “I’m so pissed right now.”
ABC claimed the report in question wasn’t reliable enough to share. Could Robach, or any of the other journalists she worked on for the story, keep digging until that wasn’t the case, taking ABC at its word? Perhaps they could have turned to other networks or colleagues to keep the story alive?
Epstein wasn’t an openly partisan figure. He spent more time concocting his criminal operation than making political statements. Still, he donated heavily to Democrats over the years and palled around with former President Bill Clinton, a connection that could have damaged the ex-leader’s name, at the very least.
In journalism’s defense, bringing the hammer down on powerful men comes with consequences. Bullying. Intimidation. Possible lawsuits. It must be done with great care, with every fact double and triple checked.
Would any of that stop a journalist from publishing a damning story about, say, President Donald Trump? Sen. Ted Cruz? Florida Gov. Ron DeSantis?
That answer may say it all.
The views expressed in this piece are the author’s own and do not necessarily represent those of The Daily Wire.
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Christian Toto