Cancel Culture has been around long enough for victims to develop a strategy against it.
Don’t apologize, unless you truly did something wrong. Realize the so-called mob is often very small and disconnected from the public at large.
Best of all? Ignore the mob until they find another target. <a href="https://www.hollywoodintoto.com/mark-wahlberg-cancel-culture/">Mark Wahlberg did just</a> that after woke scolds attempted to cancel him after his unsavory past “resurfaced” anew.
Yes, a young Wahlberg attacked innocents as a teenager, hurling racial slurs in the process. He faced criminal punishment for his gross actions, apologized repeatedly and went on to lead a seemingly exemplary life as a father, husband and A-list actor.
“Harry Potter” author J.K. Rowling essentially aped all of the above strategies when the mob came to her door, but the Cancel Culture crowd refuses to back down.
They may never leave her alone.
It all started in 2020, a time when Rowling’s “Potter” legacy, and a crush of progressive-approved stances, marked her as celebrity royalty. She hated Donald Trump, retconned her own literary canon to make it more inclusive and enjoyed media adoration along the way.
Then she Tweeted an <a href="https://www.glamour.com/story/a-complete-breakdown-of-the-jk-rowling-transgender-comments-controversy">unabashed defense of her fellow women</a> on Twitter, triggered by an op-ed calling women, “people who menstruate.” Far-left progressives recoiled at her verbiage, but Rowling didn’t back down. 
She doubled down.
“If sex isn’t real, there’s no same-sex attraction. If sex isn’t real, the lived reality of women globally is erased. I know and love trans people, but erasing the concept of sex removes the ability of many to meaningfully discuss their lives. It isn’t hate to speak the truth … The idea that women like me, who’ve been empathetic to trans people for decades, feeling kinship because they’re vulnerable in the same way as women—i.e., to male violence—‘hate’ trans people because they think sex is real and has lived consequences—is nonsense.”
Rowling, like Dave Chappelle in recent months, reached out to the trans community in the process.
“I respect every trans person’s right to live any way that feels authentic and comfortable to them. I’d march with you if you were discriminated against on the basis of being trans. At the same time, my life has been shaped by being female. I do not believe it’s hateful to say so.”
That changed everything. Suddenly, her seemingly invincible brand took a direct hit. Media outlets raged against her. Columnists said the “Potter” legacy had been permanently soiled.
The three main actors from the “Harry Potter” franchise – Emma Watson, Daniel Radcliffe and Rupert Grint – distanced themselves from her in the public arena. Rowling had been branded a bigot in the public square by actors who owed their career (and bank accounts) to her imagination.
Things looked grim for the author’s public persona, but the Cancel Culture mob routinely moves on to other targets. Rowling’s “crimes” were Tweets and essays, after all, not physical violence or calls for anything other than kindness.
It didn’t matter. Cancel Culture places anti-trans critiques above all else (just ask Chappelle), and Rowling had crossed a line that couldn’t be uncrossed.
Even a hostage-style apology might not work at this point to undo the damage.
Some could argue Rowling wasn’t “canceled” in any profound way. She still had the “Fantastic Beasts” film franchise, and no one had siphoned her book royalties from her. That didn’t capture the efforts made across the culture, either by those who truly believed she had attacked the trans community or just feared anyone suspecting they sided with her, to erase her from the mainstream.
“Harry Potter” fan sites like <a href="https://www.instyle.com/celebrity/jk-rowling/harry-potter-fansites-no-longer-support-jk-rowling">MuggleNet and The Leaky Cauldron</a> vowed not to report on her, her honors, or similar news items.
She ironically became like Lord Voldemort, the Potter villain whose name should not be spoken. Her name no longer appeared on the site, along with fan art or related imagery of the British author.
A New Zealand book festival <a href="https://nypost.com/2021/05/02/harry-potter-themed-even-canceled-over-j-k-rowlings-transphobic-tweets/">removed a Potter-themed event</a> in 2021 due to Rowling’s gender commentary.
The recent HBO Max reunion special, “Return to Hogwarts,” made sure not to include Rowling in the ceremony. She appeared, oh so briefly, via archival footage of the franchise she created.
A British secondary school <a href="https://www.dailymail.co.uk/news/article-10367133/JK-Rowling-cancelled-Performing-arts-school-drops-Harry-Potter-author-transgender-row.html">removed Rowling as the name of one of its houses</a> due to her trans comments, replacing it with Olympian Dame Kelly Holmes.
Even threats of potential violence couldn’t slow the Cancel Culture attacks on Rowling. A trio of trans activists <a href="https://nypost.com/2021/11/22/j-k-rowling-slams-trans-activists-for-sharing-address-on-twitter/">shared the author’s address</a> on Twitter last year, drawing a sharp, revealing rebuke from Rowling.
“They should have reflected on the fact that I’ve now received so many death threats I could paper the house with them, and I haven’t stopped speaking out &#8230; perhaps – and I’m just throwing this out there – the best way to prove your movement isn’t a threat to women, is to stop stalking, harassing and threatening us.”
Reporters refused to attack or critique the activists in question, nor were they “canceled” for putting Rowling’s life in danger.
It’s important to note the press, by and large, agreed with Rowling’s cultural cancellation, either quietly or with how they framed stories about her. Reporters have shared every last morsel of punishment she faced without the sense that things had gone too far.
That explains why <a href="https://www.usatoday.com/story/entertainment/books/2022/01/06/harry-potter-antisemitic-jk-rowling-jon-stewart/9117704002/">reporters pounced</a> on former “Daily Show” host Jon Stewart’s claim that Rowling’s “Potter” films were anti-Semitic for including gold-grubbing goblins with pointy ears and sharp teeth, similar to anti-Semitic tropes of yore.
Stewart’s rant on the subject caught fire in a media environment eager to pile on Rowling for clicks and Cancel Culture kudos.
<a href="https://www.foxnews.com/media/jon-stewart-shreds-newsweek-jk-rowling">Stewart quickly backpedaled</a>, denying the charge and arguing his comments were “light-hearted” in nature. Perhaps the far-left comic didn’t realize all the work Rowling has done to <a href="https://www.dailymail.co.uk/news/article-10370787/Jewish-charity-defends-J-K-Rowling-Harry-Potter-anti-Semitism.html">battle anti-Semitism</a>.
The same media also framed another Rowling news cycle in a curious way. Two U.S. groups that run the Quidditch sport, invented by Rowling for the “Harry Potter” books, <a href="https://www.theguardian.com/us-news/2021/dec/20/us-quidditch-leagues-change-name-jk-rowling">changed their names</a> to distance themselves from the author.
Turns out a key reason for the change involved trademark issues, but that narrative is less damaging to Rowling, of course, so it didn’t make many headlines on the subject.
This list is incomplete but indicative of how Rowling has been treated over the past 18-plus months.
How has Rowling responded to this cavalcade of cancellations? She’s stood tall through it all. She hasn’t backed down or served up a “hostage”-style apology. She doesn’t poke the Cancel Culture beast quite like Chappelle does with his humor, but she refuses to change her mind despite the endless backlash.
Compare that to how Stephen King and Scarlett Johansson responded to their respective Cancel Culture attacks. King quickly apologized in 2020 for daring to say <a href="https://www.indiewire.com/2020/01/stephen-king-criticized-ava-duvernay-diversity-art-1202203184/">quality should matter most when it comes to art.</a>
Johansson, after briefly accepting the role of a trans woman in a film to be called “Rub and Tug,” served up a mewling apology (more than one, actually) while turning the part down.
Both King and Johansson are wealthy beyond their wildest dreams and could survive a Cancel Culture retribution.
Instead, they let the mob speak for them. 
Rowling may remain as progressive as before, but her steely response to an attack with no signs of stopping puts her in a rare category these days.
The views expressed in this opinion piece are the author’s own and do not necessarily represent those of The Daily Wire.

Readers-Pass—Toto—JK-Rowling–Cancel-Culture-Survivor

What JK Rowling Can Teach Us About Surviving Cancel Culture

Cancel Culture

Entertainment

Hollywood

Nick Searcy attended the Jan. 6, 2021 protests summoned by then-President Donald Trump, camera in hand.
The “Justified” star couldn’t have predicted what would happen later that day or the ensuing political earthquake.
His documentary, “Capitol Punishment,” offers a media corrective to the “insurrection” mania that gripped the press over the past year. He also lets many of the protesters speak, everyday Americans who didn’t even step foot in the Capitol building but are paying an astronomical price for suggesting the election was “stolen.”
So far, so necessary.
Director Chris Burgard’s film opens with a quote from Harry S. Truman about governments silencing the opposition. When leaders seize control of the narrative, it “creates a country where everyone lives in fear.&#8221;
We’re flooded with incendiary news coverage of the riot, including Rep. Alexandria Ocasio-Cortez <a href="https://people.com/politics/alexandra-ocasio-cortez-feared-other-things-were-going-to-happen-to-me-on-day-of-jan-6-insurrection/">saying</a> she feared she would be sexually assaulted by the Trump supporters. Note: <a href="https://www.reuters.com/article/uk-factcheck-aoc-instagram-live-video/fact-check-alexandria-ocasio-cortez-did-not-claim-that-she-was-in-the-capitol-during-siege-nor-that-rioters-entered-her-office-idUSKBN2A51RK">She wasn’t in the Capitol during the melee</a>.
Searcy, serving as narrator and comic foil, dubs himself a “domestic terrorist” during a mock interrogation by prominent Democrats. He, too, thinks the election was stolen, but “Capitol Punishment” lobs but a few generic arguments to that effect.
His man-on-the-street vantage point shapes the narrative he says the media ignored.
“It didn’t look like a riot. It looked like a tailgate party,” Searcy says, mixing folksy humor with videos rarely shown in mainstream sources. Yes, the vast majority of people peacefully protested in the truest sense of the word, singing in unison and praying for a brighter tomorrow.
A select few, in large enough numbers to matter, rampaged through the Capitol without a plan but bringing chaos with them. That “peaceful protest” taunt conservatives shouted over the press’s framing of violent BLM protests can’t camouflage that.
We also see video of protesters perusing inside the Capitol, taking snapshots and moving about as if touring the Louvre.
It’s worth noting the Capitol is a vast building. That many of these protestors entered through doors opened by police, or wandered past barricades lifted by police wholly unaware of the more dramatic activity in other parts of the building is a point Democrats and the media are eager to ignore. “Capitol Punishment” succeeds at giving its audience a sense of the sheer scope of the protest, perhaps putting the actions of some of the more well-meaning protestors in a context not seen before.
The film&#8217;s purpose is clear. The U.S. government is using the Jan. 6 riot as a pretense to chill dissent. On that ground Searcy scores some fundamental wins.
“Capitol Punishment” introduces us to several protesters whose homes were raided by dozens of heavily armed FBI agents.
We even watch home security footage of armored vehicles festooned with agents who appear more like soldiers entering combat than police making an arrest approaching the homes in question. One man describes seeing “red dots all over his chest,” as agents swarmed his front door.
We meet two families, one white, one Latino, sharing why they came to the protests. Neither entered the Capitol building, they allege, and both brought medical equipment in case they could help someone on site.
<iframe loading="lazy" title="vimeo-player" src="https://player.vimeo.com/video/644123614?h=abbea7fcca" width="640" height="360" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
The film uses existing media – audio, video snippets and still photographs, to back up some of the participants’ stories.
“It sounded like war,” one 13-year-old said of the experience.
Twin sisters, 74, were told they were now on a list of domestic terrorists and threatened with a year in federal jail for trespassing.
“It was so over the top, there’s still no words to describe it,” says Dr. Simone Gold, a member of the America’s Frontline Doctors group which criticized COVID-19 protocols and promoted Hydroxychloroquine early in the pandemic.
She addressed the pro-Trump crowd during a quiet moment inside the Capitol. According to Dr. Gold, the door was open no one was ever asked to leave. She has been paying the price for it ever since.
One protester describes spending nine straight days in solitary confinement. Others recall not being able to make a phone call to lawyers or loved ones while incarcerated.
The film demands more legal experts here, neutral sources who can weigh in on what’s being alleged, but the accusations are certainly startling.
The documentary’s running time is too easily expanded by detours involving the JFK assassination conspiracy, social media shadow banning and communist infiltration.
We’re also told Antifa-style agitators sparked the violent part of the protest. Some of the video footage hints at that argument, but it doesn’t explain away what happened nor excuse it.
A thornier theory, and one previously made by Tucker Carlson via his “Patriot Purge” docuseries, suggests FBI agents stoked the protest’s violent turn.
What seems like an inflated charge got new life on Tuesday when Sen. Ted Cruz asked Jill Sanborn, FBI Executive Assistant Director, National Security Branch, if FBI agents “actively participated” in the Jan. 6 riot. <a href="https://www.dailywire.com/news/fbi-refuses-to-state-that-it-did-not-commit-crimes-during-jan-6-riot-encourage-violence">She refused to answer</a>.
The lengthy segment on pro-Trump protester Ashli Babbitt, the only person to die on Jan. 6 at the hands of Capitol police, is heartbreaking. Searcy drops the humor and lets her widower share his side of the story without comment or editing.
She clearly took an aggressive stand during the melee, eager to push past a makeshift barricade. Still, an unarmed woman should not have been shot to death that day in that manner.
Her passing should enrage the same critics who demanded police reform over the past two years and likely would have had she been at a BLM protest.
Those riveting sequences lead to … Dee Snider, the free speech rocker who famously <a href="https://www.rollingstone.com/music/music-news/dee-snider-on-pmrc-hearing-i-was-a-public-enemy-71205/">wrestled</a> with Tipper Gore and the PMRC movement in the late 1980s.
The issue? His band Twisted Sister’s signature track, “We’re Not Gonna Take It,” and how Trump tried to use the song for his campaign. The segment feels disconnected from much of what we’ve just witnessed, above and beyond the song’s rebellious streak.
The film stumbles further by turning the track into a quasi sing-a-long. Coming off what we’ve just been told, from attacks on the Constitution to a veteran’s death at the hands of police, the transition lands with a thud.
Happy Warriors on the Right? Sure, but the events captured in the film, and via the story updates revealed before the end credits, are anything but celebratory.
“Capitol Punishment” pushes beyond biased media narratives and gives a voice to those facing significant jail time for insignificant crimes. It also overplays its hand, mirroring what we’re witnessing this month from Democrats genuflecting at the legacy of Jan. 6.
You can purchase and watch the film <a href="https://capitolpunishmentthemovie.com/">here</a>.
The views expressed in this piece are the author&#8217;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 class="in-cell-link" href="https://www.dailywire.com/subscribe" target="_blank" rel="noopener">member</a>.

Capitol Riot

New Film ‘Capitol Punishment’ Counters Media’s Jan. 6 ‘Insurrection’ Narrative

Rocker Tommy Vext doesn’t think, or vote, like most of his peers. 
He’s pro-Trump, anti-BLM-inspired riots and uneasy about aggressive pandemic lockdowns. And he’s paid the price for sharing those views.
Lawsuits. Band break ups. Big Tech oppression. 
He refuses to stay silent, nor let naysayers disconnect him from his fans. Vext, formerly of Bad Wolves, just wrapped up a stint with the God Bless the Outlaws tour alongside country rapper Struggle Jennings.
The tour hit venues that don’t enforce vaccine mandate rules, and that’s no accident.
“We’re making a stand,” says Vext, who successfully beat back COVID-19 twice in recent months. He’s “disgusted” by states like New York that are putting fire fighters and First Responders alike on unpaid leave for not getting the jab.
Vext’s political thinking led to his departure from the band he co-founded.
Both Vext and Bad Wolves recently agreed to an amicable divorce late last month. The singer sued his former band earlier this year, claiming it forced him out due to his political opinions. The band, known for Vext’s hard-charging lead vocals and an exhilarating <a href="https://www.youtube.com/watch?v=9XaS93WMRQQ">cover</a> of The Cranberries’ “Zombie,” counter-sued, charging him with copyright infringement, unjust enrichment and breach of contract, according to Billboard. The latter suit also <a href="https://www.billboard.com/articles/columns/rock/9652753/bad-wolves-settle-lawsuits-singer-tommy-vext/">alleged</a> Vext tried to sabotage the band’s upcoming release, recorded without him on lead vocals.
Vext, his voice a bit weary from the road, says he never had a problem with his former bandmates’ politics.
“We were all friends … those guys were all liberal, a few being vehemently liberal,” he says. Rock journalists, he says, lean the same way and threatened to ignore his music for daring to support President Trump.
It wasn’t a new feeling. Vext says he’s routinely targeted by major platforms for his political views.
“I’ve been shadow banned on Facebook and Instagram,” he says, adding he steers mostly clear of Twitter due to its incendiary nature.
The rocker got clean 13 years ago, and he says the press previously captured both that element of his life as well as his philanthropic work. That includes Bad Wolves <a href="https://www.billboard.com/articles/news/8461993/dolores-oriordan-children-bad-wolves-zombie-cover-donation/">steering</a> $250,000 from their Cranberries’ cover — which amassed nearly half a billion plays on YouTube — to the children of the group’s late singer, Dolores O&#8217;Riordan.
The tone of his media coverage soured in recent months, though.
“Once I came out against ‘The Narrative,’ they started to flag my content,” he says of Big Tech. “The mainstream rock media came after me, [too]… a relentless, never-ending campaign.”
The latter, he says, includes domestic abuse charges leveled by ex-girlfriends Nicole Arbour, a YouTube comic, and personal trainer Whitney Johns, against him.
Vext denies both charges.
The former hardcore punk singer grew up poor, a condition which filters how he sees both America and the current political landscape.
“My mom was a crackhead who abandoned me … I got sober in my late 20s and turned my life around,” he says, forever grateful to live in a country that allows for second chances.
“This is one of the countries where it doesn’t matter what you’re born into, just work hard and also learn and ask questions and take personal responsibility for your losses,” he says. “You can become anything.”
It helps that a touring rocker sees other nations, especially lands where Communism reigns supreme. “There’s a lack of opportunity, a glass ceiling of government over people’s heads.”
Not in his home country.
“It’s called the American dream for a reason,” adds Vext, who says he considered himself a Democrat until he “woke up” roughly seven years ago.
Vext remains proud of his Bad Wolves legacy, especially the way the group’s songs connected with fans.
“Our hit songs are all autobiographical,” he says. “It’s impossible for my experiences not to pour out into the lyrics.” Fans routinely approach him to share their personal stories and how they overlap with his songs. Those moments are therapeutic for the singer as well as his fans.
“It’s healing to have people say, ‘me too,’” he says of his confessional songs.
Vext knows firsthand how hard it can be to buck the mainstream. His travails have taught him the importance of having a solid group of friends at his back, for starters.
“I lost a lot of people in my life, but I gained a lot, too,” he says. “The actual quality of the people in my life is so different. I’ve replaced all the leeches and the takers with people who bring stuff to the table.”
Taking a stand has another vital side effect.
“You’ll attract other people of integrity to you,” he says. He wouldn’t mind having more support, though, and not just for his sake.
“A lot of the things that happened to me wouldn’t have happened if other big bands said what I said,” he says of his musical colleagues. It’s not just confined to music, though. He notes how outspoken stars like Dave Chappelle, Nicki Minaj and Nets star Kyrie Irving make an impact by challenging accepted norms.
“People need to band together,” he says.
For now, Vext takes comfort knowing he stood up for his beliefs when doing the opposite offered the path of least resistance.
“When I’m an old man and people talk about 2020, I wanna say I did what I thought was right in a time when doing the right thing was almost like guaranteeing personal destruction,” he says.
The views expressed in this opinion piece are the author’s own and do not necessarily represent those of The Daily Wire.

Readers-Pass—Toto—The-Rockstar-Who-Risked-Everything-To-Stand-For-His-Conservative-Beliefs

Meet The Rockstar Who Risked It All To Stand Against Cancel Culture

Readers Pass

Morgan Wallen said a word that’s <a href="https://www.hollywoodintoto.com/naacp-morgan-wallen-apologies/">no longer allowed to be spoken</a> in society (<a href="https://nypost.com/2021/06/08/hunter-biden-repeatedly-called-his-white-lawyer-the-n-word-texts-show/" target="_blank" rel="noopener">unless your name is Hunter Biden</a>, then all is forgiven).
For that, the country sensation suffered a <a href="https://www.npr.org/2021/02/03/963664999/country-star-morgan-wallen-suspended-by-label-dropped-by-radio-cmt-after-using-s" target="_blank" rel="noopener">humiliating blow to his music career</a>. Several, actually.
<ul>
<li>His record label suspended him</li>
<li>iHeartMedia yanked his songs from the massive platform</li>
<li>Cumulus Media did the same, as did Pandora and SiriusXM</li>
<li>CMT canceled his music</li>
<li>The <a href="https://www.tennessean.com/story/entertainment/music/2021/10/01/morgan-wallen-not-invited-cma-awards-album-nomination/5949475001/" target="_blank" rel="noopener">Country Music Awards disinvited him</a> from its annual showcase</li>
</ul>
Wallen immediately apologized for using the “n-word” in a private conversation captured on video and shared for all to see and hear.
His apology tour didn’t stop there.
He donated <a href="https://www.usatoday.com/story/entertainment/music/2021/09/22/morgan-wallen-kept-his-pledge-donate-money-black-serving-groups/5788855001/" target="_blank" rel="noopener">$500,000 to various black causes.</a> He admitted himself into a rehab facility and shuttered his upcoming concert tour. And yet it wasn’t enough for <a href="https://www.hollywoodintoto.com/morgan-wallen-cancel-culture-cma-awards/">either Cancel Culture or the media outlets that fuel it.</a>
Reporters suggested his punishment needed to continue, with no apparent end in sight. What good is Cancel Culture, they said, if the targets aren’t permanently canceled?
Wallen finally emerged from his self-imposed hiatus toward the end of 2021. And, we’re just learning, his record sales boomed during his tumultuous year. He crushed 2021 by having the <a href="https://www.foxnews.com/entertainment/country-morgan-wallen-best-selling-album-2021-racial-slur-scandal-reports" target="_blank" rel="noopener">number one selling album</a> of the year, “Dangerous: The Double Album.”
The release beat out stiff competition from Adele, Drake and Olivia Rodrigo.
That’s not all, though.
The far-Left Variety reports Wallen now sits <a href="https://variety.com/2021/music/news/morgan-wallen-currently-no-1-on-hip-hop-chart-says-hed-like-to-work-with-kendrick-lamar-1235144949/" target="_blank" rel="noopener">atop the Hip-Hop music charts</a> thanks to “Broadway Girls.”
The track, teaming Wallen with rapper Lil Durk, needed roughly a week to climb Billboard’s R&amp;B/hip-hop charts. And Wallen’s hip-hop connections aren’t over.
<iframe loading="lazy" title="Lil Durk - Broadway Girls feat. Morgan Wallen - (Official Music Video)" width="500" height="281" src="https://www.youtube.com/embed/2CNl_CCtE-I?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
He just appeared with Druski, a black comic, on a Clubhouse talk show. The conversation avoided the “n-word” incident and focused on music, future hip-hop collaborations and small talk.
The black community should be the angriest about Wallen’s use of the “n-word,” to state the obvious. That his latest song soared up the R&amp;B/Hip-Hop charts, which routinely features artists of color and boasts a diverse fan base, speaks volumes for how Wallen was treated during the past year.
The superstar didn’t hurt anyone, mislead the public or hurl that awful word against a black person. The punishment did not remotely fit the crime, and many Americans from all races and creeds felt he had suffered enough.
They showed it by continuing to buy his albums and salute his cross-over efforts. It’s similar to seeing disgraced comic Louis C.K. get a rapturous reception during his <a href="https://www.hollywoodintoto.com/louis-ck-sorry-review-trans-chappelle/">latest stand-up special</a>. Yes, what the comedian did was vile and disgusting. At what point, though, does he get to live his life again?
Wallen’s end of year comeback gave Cancel Culture, and the reporters who adore it, a big black eye.
Related: <a href="https://www.dailywire.com/news/morgan-wallen-lands-best-selling-album-of-2021-despite-deplatforming-over-secretly-recorded-n-word-tape">Morgan Wallen Lands Best-Selling Album Of 2021 Despite Deplatforming Over Secretly-Recorded N-Word Tape</a>
A version of this article is also published on <a href="https://www.hollywoodintoto.com/">HollywoodInToto.com</a>.
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>.
&nbsp;

Morgan Wallen Live From The Ryman

Morgan Wallen Crushes Media, Cancel Culture With Shocking Music Win

Country Music

Morgan Wallen

Andy Erwin premiered his latest faith-kissed film, “American Underdog,” at what he calls “sacred ground” for a filmmaker – Grauman’s Chinese Theatre in Los Angeles.
Walking in, he spotted an homage to the Biblical classic “The 10 Commandments.” The lobby display recalled an era when Hollywood embraced Christian values with open arms.
That’s no longer the case.
“People of [Christian] values used to be represented in Hollywood quite well,” Erwin says. “We lost our seat at the table.”
The industry eschews overtly Christian tales today, focusing on pop culture brands like Marvel, DC and all things “Star Wars.” When studios deliver faith-based movies now they often reduce, or remove, the spirituality components, witness 2014’s “Noah” or the 2005 biopic “Walk the Line.”
Christian films now flow primarily from the independent realm, with notable titles from the Kendrick brothers (“War Room,” “Courageous”) and Erwin, alongside his filmmaking sibling Jon Erwin (“I Can Only Imagine,” “Woodlawn”).
The duo’s “American Underdog,” depicting Kurt Warner’s rise from grocery store clerk to Super Bowl MVP, brings God back to the big screen. Only the Erwins did so with a delicate touch.
Warner’s remarkable story is prime material for the big screen, and the Hall of Famer never hid how faith made that journey possible. Zachary Levi of “Shazam” fame plays the gridiron great, but his saga’s spiritual component isn’t as overt as, say, a “God’s Not Dead” sequel.
The Erwins knew they had to tell Warner’s story in the most authentic way possible. The quarterback’s story should focus on his courtship of future wife Brenda (Anna Paquin) and how their families came together as a result as much as throwing TD passes and prayer.
“We leaned into those things. It just so happened to be about a Christian … we didn’t shy away from that faith,” Erwin says, adding the film’s themes pack a universal appeal. “It’s relatable regardless of what your beliefs are, redemption and hope, second chances.”
That said, the Kurt Warner story is about family most of all.
“We didn’t want to do a color by numbers sports biopic … what is he really fighting for?” he adds.
Erwin admits some Christian films have lacked the sizzle of mainstream Hollywood fare. 
“As Christians we’ve had a lot of catching up to do,” he says, adding Christians’ ability to tell stories have “atrophied” over time.
That’s changing, witness the serialized tale of Jesus told via “The Chosen,” which earned solid reviews from secular critics. Plus, Sony has an entire sub-studio dedicated to movies of faith, Affirm Films, and Lionsgate brought “American Underdog” to the masses.
And while film critics aren’t typically kind to spiritual stories, “American Underdog” is earning the best reviews of the Erwin brothers’ career.
Andy Erwin is “pleasantly surprised” by those results.
“Maybe they’re something about true stories that really register … optimism is making a comeback,” he says.
The Erwins worked extensively with Warner in shaping “American Underdog,” a process that showed the duo the commitment the NFL great brings to everything he touches. Warner would send the brothers texts at 3 a.m. with feedback and tips.
“That Kurt drive you see in the movie exists in real life, whether it’s winning the Super Bowl or ‘Dancing with the Stars,’” Erwin says. “Here’s there to win.”
Warner impressed upon the Erwins how vital Brenda was to his comeback saga.
“She’s tough as nails, a former Marine who is an aggressive Mama bear,” Erwin notes. She’s also “amazingly loyal and emotional,” facets Paquin delivers in her raw performance. 
“I want the audience to see a part of Brenda that I only get the privilege to see,” Warner told the brothers. 
The Erwins took a curious path to Hollywood. The pair worked at ESPN while still teenagers, contributing to ESPN College Football Primetime and, later, with FOX NFL and the NBA.
They formed their own production company in 2002, focusing on commercials, documentaries and music videos for superstars like Amy Grant and Michael W. Smith.
They later turned to movies, directing the 2011 film “October Baby” as their big screen debut. Follow-up features failed to light up the box office until 2018’s “I Can Only Imagine.” That fact-based story, co-starring Dennis Quaid, scored $83 million from a reported $7 million budget.
Erwin has spent most of his career working alongside brother Jon, although the two are pursuing projects independently as well. He credits their divergent approaches to his artistic growth
“We’re dysfunctional at best half the time,” Andy Erwin says. “Jon sees the world and film from a much different perspective than I do…. he makes my ideas better.”
That creative tension, he says, brings out the best in both of them. He calls it “friction with respect, and the best ideas win.”
It’s not hard to spot the life lessons lurking in “American Underdog,” from the power of family to how adversity often makes us stronger. 
“It’s a love letter to dreamers and the idea of hope,” he says. “That breakout moment is right on the opposite side of your hardest struggle … God has a plan.”’
And the film’s timing, released on Christmas day during a pandemic with no end in sight, couldn’t be more appropriate.
“There’s a lot of struggle right now, especially in Middle America. It feels like the decks are stacked against us. Stay true to who you are, fight for what you believe in,” he says.
The views expressed in this opinion piece are the author’s own and do not necessarily represent those of The Daily Wire.

Readers-Pass—Toto—American-Underdog

‘Christians Used To Have A Seat At The Table’: Director Of ‘American Underdog’ On Christian Comeback In Hollywood

A new year always offers new hope, even for the New York Jets. September, and cold, hard reality, is still nine months away for Gang Green.
In pop culture terms, though, 2022 suggests we’ll be getting much more of the same, with some notable twists. Hollywood is conservative only in how cautious it is to embrace change. Still, we can read the 2021 tea leaves well enough to make the following predictions for the new year.
Cancel Culture Isn’t Going Away
Let’s start with the most depressing prediction. Cancel Culture and its woke acolytes will still be haunting us when that big, glossy ball descends anew in New York City at year’s end. It’s too entrenched in our culture to go away within 12 short months.
More importantly, Cancel Culture represents a power source for progressive elites, something they’ll clutch with all of their might. Plus, we don’t have tipping point of talent willing to stand up against it. For every Adam Carolla or John Cleese there’s a <a href="https://www.​hollywoodintoto.​com/marc-maron-cancel-culture-right-wing-fascists/">Marc Maron</a> or Stephen Colbert ready to either embrace it or pretend it doesn’t exist.
The best scenario? More entertainers take a bold stand, like <a>J.​K.​</a> Rowling, against its toxic nature. The year ended with Oscar winner Javier Bardem <a href="https://news.​yahoo.​com/being-ricardos-javier-bardem-defends-052858465.html">defending</a> his right to play the roles he’s given regardless of ancestry or skin color.
It’s a very small step, but one that offers hope for a brighter, more free future. There’s always 2023, right?
VOD May Be the New Normal
The list of 2021 film flops should send chills down the spine of every film studio, large or small. “In the Heights.” “Respect.” “West Side Story.” “The Last Duel.” “Nightmare Alley.” “King Richard.” “Dear Evan Hansen.”
The names behind those flops represent the very best of Hollywood talent. Steven Spielberg. Guillermo del Toro. Ridley Scott. Lin-Manuel Miranda.
Sure, “Spider-Man: No Way Home” brought every third American back to the movie theater, but they’re not interested in adult-minded dramas and Oscar bait fare.
Will the pandemic’s end change that? Possibly. What’s crystal clear is that older audiences have grown accustomed to watching new-ish movies at home. And, if a title isn’t immediately streaming into their living room, they’ll wait a few short weeks until it is.
That will convince studios to embrace the Video on Demand template used sporadically in 2021 with titles like “Dune” and “King Richard” (both debuted in theaters and HBO Max simultaneously).
It makes sense. And it will reduce the local cineplex to a haven for IP blockbusters and cheap horror fare.
That Oscar Spiral Will Continue
The 2021 Oscar ceremony felt like a homework assignment for movie buffs. No big laughs nor comedic emcees. Lectures aplenty. And films few American audiences watched or cared to screen at the end of the day.
Expect little to change in 2022.
The current Oscar film slate (“Belfast,” “West Side Story,” “Nightmare Alley”) lacks a blockbuster able to lure viewers back to the ceremony, a la “The Lord of the Rings” or “Avatar.” “King Richard” checked off some of those populist boxes, including a robust critic/audience rating at Rotten Tomatoes, but very few people saw it.
That means the Oscar ratings will either stay low or sink even further than before.
Gutfeld Will March Alone (For Now)
One of 2021’s biggest surprises, at least to Team Hollywood, was the sudden success of Fox News’ “Gutfeld!” How could a late night cable show with no A-list stars compete with Colbert, Kimmel, Fallon and co.?
Quite easily, as we learned.
“Gutfeld!” regularly threatens CBS’s “The Late Show” for the late night rating’s crown, and it routinely trumps the competition. You’d have to double or triple “The Daily Show’s” ratings to come close to “Gutfeld!”
So Hollywood will look to clone its success, no?
Of course not. Straight shooters always realized a right-leaning late night show stood a strong chance of success. Mainstream platforms simply refused to test the waters. What if they were right, they feared, and conservative yuks flooded the marketplace? They’d rather lose money than allow that to happen.
The success of “Gutfeld!” won’t change that mindset.
Late Night Meltdown
Comic hosts like Colbert, Seth Meyers and John Oliver can only deny reality for so long.
We’ve had a full year of these far-left comics either ignoring or downplaying the Biden administration’s fumbles. At some point, though, even left-leaning audiences will get tired of the game. Supply chain woes. Soaring gas prices. Inflation. More lockdowns?
Their hardcore bases will always salivate for every new Don Jr. quip, but independent and center-left fans may seek other ways to end the night. The ratings, already sinking in the Age of Biden, may droop even further.
More Crowdfunding Success Stories
“The Chosen” proved a game changer in more ways than one. The serialized look at the life of Christ earned positive reviews from critics and audiences alike. The former group is often hostile to faith-friendly stories, making “The Chosen” an aberration.
Plus, the show’s crowdfunding success story made it all possible. We saw a repeat of this with the animated, pro-freedom “Tuttle Twins” and, in a less public way, the rise of indie comic book artists funding their work via their fan networks.
Add comedians like Ryan Long, Tim Dillon and Tyler Fischer who use Patreon accounts to boost their bottom lines, and it’s clear fans are willing to pay for content mainstream Hollywood won’t give them.
The Streaming Shuffle
How many streaming channels can we subscribe to before we say, “enough.” Platforms like Hulu, Amazon Prime and Netflix offer a dizzying array of new and older fare. Others, though, deliver less, like Peacock, AppleTV+ and Paramount+. We may see audiences becoming more selective with their streaming choices, mixing and matching platforms or abandoning old favorites for extended periods.
The platforms, in turn, could lower prices or find new ways to reclaim those eyeballs.
Progressive Hollywood Loses Its Mind
Celebrities have never been louder, angrier and more eager to share their political views on just about every topic. That’s their First Amendment right, of course, but the assembled stars have been quieter of late.
There’s no Trump in the Oval Office, and the man currently in charge is doing a lousy job. Sure, they raged against Kyle Rittenhouse with Fake News fury, but we’ve seen a softening of their political rage in 2021.
That subdued spirit will change as the midterms draw near. The modern Left has set the template already. It’s the end of our Democracy (unless you pull the lever for Democrats)! Of course, what they mean is the Democrats can’t always get their way, and many Americans still believe in election integrity, the kind involving an ID to let one’s voice be heard. 
Expect the stars to rally in the same ol’ ways (video lectures, social media screeds, late night warnings and more) to prevent what looks like an inevitable red wave come November 2022.
The views expressed in this opinion piece are the author’s own and do not necessarily represent those of The Daily Wire.

Readers-Pass—Toto—8-Pop-Culture-Predictions-2022.jpg_2

8 Pop Culture Predictions For 2022

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.”
It also explains why the industry reboots blockbuster TV shows, hoping to capture lightning in a bottle … again.
A new problem plagues Hollywood’s impulse for sequels, reboots and never-ending shows, one that extends beyond casting changes and a dearth of imagination. Too often the modern material goes woke, all but crushing the joys found in the originals.
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.
<h4>“And Just Like That …”</h4>
“Sex and the City” made Sarah Jessica Parker a star and spawned two feature-length films. The second, 2010’s “Sex and the City 2,” drew so much disdain it looked like the property was down for the count.
Enter HBO Max, which saw a chance to reunite the gal pals and tell stories about their lives as glamorous, 50-something women. That, on paper, sounded promising. Hollywood too often neglects older women on screen, and it could be fun to see this vivacious foursome take on middle age in style.
Except Kim Cattrall, who played Samantha on the series, wanted no part of a reunion. More troubling? HBO Max saw fit to apologize for the original show’s “thought crimes” (too white, too much privilege) with the new show, “And Just Like That…”
By all accounts the show’s first few episodes teem with woke flourishes. Parker’s character is now a podcast co-host alongside a queer, nonbinary partner who rants for a good five minutes about all things woke in the early going.
Miranda also apologies for not being woke enough, an embarrassing sequence that must have been a chore for actress Cynthia Nixon to shoot. At least we hope that was the case.
Worst of all, a show once known for bawdy humor and outrageous shtick is now serious, sober and full of self doubt. Where’s the fun in that, let alone the “Sex?”
<h4>“Charlie’s Angels”</h4>
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’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 over bikinis and boffo action.
<h4>“Star Wars”</h4>
The ninth and final film in the original “Star Wars” saga, 2019’s “The Rise of Skywalker,” earned $515 million at the U.S. box office. That doesn’t sound like a get woke, go broke horror story, does it?
Except “The Force Awakens,” the first film in the most recent “Star Wars” trilogy, scored $936 million four years earlier.
That’s a precipitous drop, in part, because Disney turned a cherished film saga into a virtue signaling parade. The new trilogy introduced us to several Mary Sue figures – think Rose Tico and Rey, the main character in the revived series. We also endured a pansexual Lando Calrissian, a meaningless class warfare plot in “The Last Jedi” and the emasculation of the one character ready to take the rogue baton from Han Solo – Oscar Isaac’s Poe Dameron.
Now, the “Star Wars” film series is in drydock, and the franchise’s savior is Baby Yoda, a creature at the heart of Disney+’s “Mandalorian.” That series may return to a diminished audience, though, after Disney cruelly, unfairly sacked co-star Gina Carano for speaking her mind, without hate, on social media.
Disney ponied up $4 billion to George Lucas in 2012 to buy the rights to all things “Star Wars.” Now, the Mouse House can’t get a new “Star Wars” film off the ground. The most promising title, “Rogue Squadron,” just got <a href="https://variety.com/2021/film/news/star-wars-rogue-squadron-delayed-patty-jenkins-1235107457/">shelved</a>, and a <a href="https://www.hollywoodreporter.com/movies/movie-news/why-star-wars-didnt-work-game-thrones-duo-1250798/">deal</a> to let the “Game of Thrones” team create their own “Star Wars” trilogy never got off the ground.
<h4>“Borat Subsequent Moviefilm”</h4>
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.
<h4>“Terminator: Dark Fate”</h4>
This flop is a major improvement over the previously listed sequels. It boasts some terrific action sequences, the return of a 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 – $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 an afterthought.
<h4>“Coming 2 America”</h4>
“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.
<h4>“Ghostbusters” (2016)</h4>
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> 
The fallout crushed the franchise, albeit temporarily. Sony handed the property over to director Jason Reitman, son of original “Ghostbusters” director Ivan Reitman. Young Reitman jettisoned the woke reboot entirely, concocting a new story that tied directly to the original film.
“Ghostbusters: Afterlife,” teeming with fan service and appearances by the 1984 comedy’s surviving members, is a certified hit despite the pandemic.
<h4>“Doctor Who”</h4>
The beloved British series has survived rinky-dink FX, a steady rotation of stars and nearly 60 years in the brutal TV trenches. The sci-fi series reached new heights when David Tennant took over the title character in 2005, sparking a true “Doctor Who” renaissance, with the ratings to match.
Then, in 2017, a new creative team took over. “Broadchurch” creator Chris Chibnall lured that show’s co-star, Jodie Whittaker, to play the first female Doctor. That wasn’t the only change Chibnall had in mind.
The venerable “Doctor” went woke. The press, right on cue, hailed every new progressive element of the series. Audiences, however, abandoned the franchise in droves while the series attacked men, a Donald Trump stand-in and hailed a gent getting knocked up.
Whittaker’s ill-fated reign is over, now, and the showrunner behind the “Doctor Who” rebirth, Russell T. Davies, is taking the helm once more. Let’s see if he’ll continue down the woke path or give passionate fans a reason to reclaim the show.
<h4>“Neighbors 2: Sorority Rising”</h4>
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>.

Readers-Pass—Toto—Movie-Franchises-That-Went-Woke

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

Woke Culture

Producer Dallas Sonnier says he could have found a quality actor to play the villain in his upcoming thriller “Shut In” from the “Hollywood casting universe.”
He even auditioned a few actors to play the man who stalks the film’s heroine in the upcoming movie. 
Sonnier had something else in mind. Or, to be more exact, someone else in mind.
The actor he wanted hadn’t been seen on screen in eight years, and his brash persona rubbed plenty of people the wrong way in La La Land. Plus, he’s a loud and proud Republican unwilling to play by Hollywood’s rules.
None of that mattered. Sonnier just had to add Vincent Gallo to the project.
Gallo, now 60, eventually agreed to co-star in The Daily Wire original, but Sonnier says it took all of his persuasive efforts to land the mercurial star. It was more than worth it, he adds.
“He is terrifying,” the producer says.
“Shut In,” directed by D.J. Caruso (“Disturbia”) follows a single mom (Rainey Qualley) protecting her children from an abusive ex (Jake Horowitz) and his drug-riddled friend (Gallo).
Sonnier initially connected to Melanie Toast’s “Shut In” script after learning about it from The Black List, a website connecting unproduced screenplays with industry professionals. Sonnier initially teamed with a traditional Hollywood studio, New Line Cinema, to produce the screenplay. At one point Jason Bateman of “Ozark” fame was in line to helm the project.
Enter a global pandemic, which put the project on pause. Sonnier eventually wrested control of “Shut In” back from the studio. He approached The Daily Wire about it via his Bonfire Legend film studio, and once the website gave him the green light, he was on the film’s Nashville, Tennessee, set just 30 days later.
Snagging the movie’s monster, though, wasn’t as easy.
Sonnier had met Gallo years earlier and still had his contact information. So he cold called the actor, who shot to fame by writing, directing and starring in the 1998 indie film “Buffalo ’66.”
“He had been following not only several of my movies and was very pleased with my work, but he also was well aware of our partnership with The Daily Wire,” Sonnier says of their initial conversation.
Gallo wasn’t sold on acting again after all this time, particularly in a film he wasn’t directing.
“He tried to say no a hundred times,” the producer recalls.
But Sonnier finally got his man, with the approval of Caruso. And once Gallo signed up, his commitment astounded Sonnier.
“He really went all in in a way I don’t always see with some of the greatest actors on the planet,” he says, comparing Gallo’s commitment level to that of Heath Ledger on “The Dark Knight” set.
“He had a very particular wardrobe, set of mannerism and speech patterns,” the producer says, adding something else few stars would do for the role. Gallo had one of his teeth, a “healthy one,” Sonnier notes, pulled to complete the transformation into his part. “He crafted a completely three-dimensional villainous character &#8230; when you make the villains human, it makes them that much more terrifying and real.”
At times, Sonnier says it was hard to watch him hitting his marks through the on-set monitor.
Gallo’s challenging reputation is no secret. He clashed with co-star Christina Ricci on the set of “Buffalo ’66,” leaving the young star torn about the experience. She’s proud of the film and praised Gallo’s talents, but she recalls some confrontations on the set that left her jarred.
A quick YouTube search reveals Gallo berating a small group of journalists during a chat about “Buffalo ’66.” Gallo’s last directorial effort, 2010’s “Promises Written in Water,” nabbed a brief festival run but never got a mainstream release, per Gallo’s <a href="https://www.indiewire.com/2011/07/vincent-gallo-doesnt-plan-on-releasing-promises-written-in-water-117190/">wishes</a>.
Sonnier found a different Gallo on his movie set.
“I’d love to work with him again. He was an absolute gentleman … he was so dedicated and so kind,” he says.
Gallo isn’t just a singular actor and director. He’s worked as a model, singer, director and more, a true renaissance man who rejects the trappings of fame. He’s also a provocateur, showcasing artwork and social media posts quick to rile the easily offended and, perhaps, those with thicker skins, too.
One example: His website features an escort service option — one of numerous satirical elements on his site — plus original art work excoriating politicians like Rep. Alexandria Ocasio-Cortez (a T-shirt with her image on it with the word “ignorant” written across it).
“I think that if he wasn’t a successful satirist no one would be bothered by it,” Sonnier says. “The fact that he gets under people’s skin and he is successful in drumming up controversy is the mark of a great artist in many regards.”
“I’m not particularly bothered by it,” he adds.
What the prolific producer does want, though, is for “Shut In” to be seen by people across the ideological spectrum. His work isn’t overtly political but distributing “Shut In” via The Daily Wire may scare some potential audiences away.
It’s his job, along with Gallo and company, to lure them back.
“The movies that we are making and distributing [through The Daily Wire] are not conservative propaganda movies,” he says. 
“The truth is, I want liberals to watch the movie,” he says. “If we do a good enough job, and make the movies transcend politics while still being something a conservative audience adores … then I think we’ve succeeded.”
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>.

Vincent-Gallo

EXCLUSIVE: How Vincent Gallo Was Lured Out Of Retirement For New Daily Wire Movie

Shut In

Most comedians avoid joking about The Boss, and for good reason. Not Adam Carolla.
The podcast giant poked fun at his new employer, The Daily Wire’s Ben Shapiro, on the latest installment of “<a href="https://www.dailywire.com/news/adam-carolla-assembles-star-studded-guest-list-for-new-edgy-comedy-show-truth-yeller">Adam Carolla: Truth Yeller</a>.”
The freewheeling show, part stand-up, part improv, found Carolla tweaking Shapiro early and often, from his fellow podcaster’s yarmulke to Shapiro’s academic prowess.
“[Ben] graduated from UCLA when he was a zygote,” Carolla cracked.
The versatile comic knows Shapiro can take a joke, but he opened the new episode by acknowledging a cold, hard fact about comedy in Woke U.S.A. He couldn’t tell some of his planned jokes in Hollywood or, presumably, many blue city comedy clubs. He might get canceled before the show wrapped.
The saga of Dave Chappelle isn’t lost on Carolla.
The “<a href="https://www.dailywire.com/news/adam-carolla-assembles-star-studded-guest-list-for-new-edgy-comedy-show-truth-yeller">Truth Yeller</a>” host told them anyway on his new home at The Daily Wire, firing off cultural observations and playful stereotypes as he saw fit. He even turned his humor on himself to show people we shouldn’t treat jokes so seriously.
“I’m not a racist, but I’m on the spectrum,” he said before telling a few jokes that could get him in hot water had “<a href="https://www.dailywire.com/news/adam-carolla-assembles-star-studded-guest-list-for-new-edgy-comedy-show-truth-yeller">Truth Yeller</a>” aired on, say, Comedy Central. Don’t bother with those cyber pitchforks, woke acolytes. Carolla isn’t the Apology Tour kind of guy, and he’s got no malice in his material.
That’s why he landed Jay Leno for “Truth Yeller’s” debut episode and comic actor Rob Riggle for the second episode. Riggle, who served 23 years in the Marine Corps, is <a href="https://abcnews.go.com/blogs/headlines/2013/05/lt-col-rob-riggle-at-ease-as-comedic-actor/">best known</a> for his work on “Modern Family,” “Saturday Night Live” and “The Daily Show.”
Neither steered clear of touchy topics. They leaned in, finding laughs where they could.
Comedians, Carolla said, should have “diplomatic plates” when it comes to the Cancel Culture mob and their odious trigger warnings.
“Here’s our disclaimer – it’s a joke,” he said.
Riggle joined Carolla for the show’s improv segment, bouncing from foreskin gags to chain restaurant shtick. The show’s guest told a killer NSFW story about a celebrity golfer’s “accident,” while the host trotted out material that wouldn’t fly on late night TV today.
Together, they tried to make sense out of the senseless pandemic rules.
Carolla said the scariest eight words to hear are, “On behalf of your Seattle based flight crew,” mocking the progressive city’s authoritarian bent. Riggle got in on that theme, noting how he just watched 80,000 Michigan sports fans cheering on their beloved team while other places stalk you for not raising your mask quickly enough after sipping a soda.
Riggle wouldn’t attempt that material on Stephen Colbert’s couch. The crowd might boo too loudly rather than process the truth behind the gags.
Comedy and truth are allowed to breath on “<a href="https://www.dailywire.com/news/adam-carolla-assembles-star-studded-guest-list-for-new-edgy-comedy-show-truth-yeller">Truth Yeller</a>.”
Carolla caps every episode by teeing off on one particularly ripe target. This time, he blasted California Gov. Gavin Newsom, and audiences sensed he could have mocked the Democrat for the entire show’s run if the spirit moved him.
“He looks like a guy who sells used teeth whiteners,” Carolla said of Newsom, who hearts the electric car industry while chasing Tesla founder Elon Musk out of the state with his extreme regulations.
Dumb governor. Smart. Jokes.
The views expressed in this piece are the author&#8217;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>.

Comedy Central Roast Of Alec Baldwin – Inside

‘Truth Yeller’ Doesn’t Hold Back, With Adam Carolla, Rob Riggle Diving Head First Into Touchy Subjects

Adam Carolla

Truth Yeller

Comedian Tim Dillon offered a simple rationale for Business Insider’s recent hit piece on Barstool Sports founder Dave Portnoy.
Portnoy, the comedian said, is a “<a href="https://www.hollywoodintoto.com/tim-dillon-dave-portnoy-business-insider/">disruptor</a>.” Barstool Sports offers a frisky take on athletics, one that counters what a staid network like ESPN offers. Portnoy steals eyeballs from mainstream channels, and reporters aren’t happy about it.
Dillon, who also called himself a disruptor, has a point. People like Portnoy and Dillon hit it big by offering something fresh and original. They deliver content free of the usual, left-leaning narratives on culture, politics, journalism and more.
It takes talent — and courage — to be a disruptor in modern times. Disruptors wear a large, red and white target on their backs, 24-7. Yet they persist, giving fans a true alternative to existing platforms.
The following “disruptors” are doing just that, and they’re finding huge success in the process.
<h4>Bari Weiss</h4>
This left-leaning journalist famously torched The New York Times by <a href="https://www.bariweiss.com/resignation-letter">publicly</a> quitting the once great paper in 2020.
Why?
“Twitter is not on the masthead of The New York Times. But Twitter has become its ultimate editor,” she wrote, freeing herself from the increasingly unreliable outlet.
Weiss went rogue, joining the emerging Substack platform and creating her own subscription-based newsletter. Market Watch <a href="https://www.marketwatch.com/story/how-much-times-walkout-weiss-breaks-the-rules-makes-a-mint-11629128876">estimated</a> she now makes $800,000 annually for creating “Common Sense with Bari Weiss.”
That reinvention coaxed others eager to push back against conventional media to go solo, too.
She may not have changed some of her left-leaning views, but her clear-eyed punditry now reaches the masses on her own terms.
<h4>Glenn Greenwald</h4>
The fellow Substack superstar went solo after a bizarre public divorce. The liberal Greenwald founded The Intercept in 2014, but quit last year after the site’s editorial team refused to publish a story because, he claims, it indirectly helped President Donald Trump’s re-election campaign.
“The Intercept’s editors, in violation of my contractual right of editorial freedom, censored an article I wrote this week, refusing to publish it unless I remove all sections critical of Democratic presidential candidate Joe Biden, the candidate vehemently supported by all New-York-based Intercept editors involved in this effort at suppression,” he said in his public resignation <a href="https://greenwald.substack.com/p/my-resignation-from-the-intercept">letter</a>.
Since then, Greenwald rebuilt his brand on Substack, joined the free speech platforms Rumble and Locals, and continued his blistering attacks on media bias via his massive Twitter account, which boasts 1.7 million followers.
<h4>Phelim McAleer</h4>
The Irish muckracker was disrupting Hollywood long before it was cool. McAleer, along with his creative partner and wife Ann McElhinney, <a href="https://www.nbcphiladelphia.com/news/local/gosnell-movie-nears-21m-crowdfunding-goal/71749/">stunned</a> the crowdfunding world by raising $2.1 million to produce “Gosnell.”
The film shared the ghastly details behind abortionist Dr. Kermit Gosnell’s house of horrors. 
McAleer was just warming up, though. He went on to produce a Verbatim theater production dubbed “Ferguson,” using actual court transcripts to paint an accurate picture of Michael Brown’s controversial death. His “FBI LoveBirds: Undercovers” play shared a similar approach, turning texts from Trump-loathing FBI agents into a darkly comic romp.
Now, he’s in Serbia shooting “My Son Hunter,” the tale of a drug-addled man-child and his father, a mentally addled Commander in Chief.
Hollywood wouldn’t touch such a project, even though it offers rich dramatic potential. Late night comedians avoid jokes tied to Hunter Biden, even though they practically write themselves. Team McAleer will do both with their upcoming film.
<h4>Joe Rogan</h4>
The UFC commentator and stand-up may be the most dangerous man in media. By dangerous, we mean he’s willing to engage with people on both sides of the aisle. And when the media fills our smart phones with lies, he’s happy to call them out.
He did just that when CNN and others erroneously said he gulped down horse dewormer to treat his COVID-19 condition. Now, he’s out to mock media lies on his massively popular podcast.
Rogan developed “The Joe Rogan Experience” outside existing channels, but some feared he’d lose his independent streak when he signed an exclusive deal with Spotify last year for a reported $100 million.
So far, Spotify CEO Daniel Ek has his back and Rogan isn’t backing down from media attacks on his show and character.
<h4>Buddy Brown</h4>
The country singer pined for mainstream stardom, and who could blame him? Brown had a strong voice and talent for songwriting, attributes record executives spotted when he went to Nashville to pursue his musical dreams.
He says his plans derailed when those executives insisted he tamp down his right-leaning lyrics. No dice, Brown said, before he left to forge his career on his own terms. 
He did just that courtesy of YouTube, sharing politically incorrect songs and country originals alike on the video platform. The fans rallied to his side, and soon he forgot all about those mainstream dreams. He had his own version, on his own terms, and he didn’t have to squelch his conservative instincts in the process.
<h4>Nick Searcy</h4>
The versatile actor had it made. Searcy’s credits as a go-to character actor spoke for themselves, including key roles in movies like “Fried Green Tomatoes,” and FX’s “Justified.” He could be a scoundrel, a law enforcement official or an authority figure, and the work kept coming.
Except Searcy refused to stay silent about his conservative views. He opened his career up to alternative projects, from co-starring and directing “Gosnell” to producing documentaries like the faith-friendly “America, America God Shed His Grace on Thee.”
He’s also part of The Daily Wire’s upcoming western, “Terror on the Prairie.”
<h4>Megyn Kelly</h4>
The former Fox News superstar stumbled after leaving the network for an NBC show to call her own. “Megyn Kelly Today” suffered weak ratings, which likely made the network eager to fire her after she made innocuous comments about Halloween costumes and blackface.
The dismissal left her a very wealthy person, and she could have settled for an early retirement. Instead, Kelly rebounded on her own terms. She created a media company and joined the podcasting revolution. “The Megyn Kelly Show” became a quick hit, hitting number one on iTunes right out of the gate. The podcast drew big name guests and caught the attention of SiriusXM. The satellite radio network partnered with Kelly, allowing her to expand her audience without sacrificing her voice.
Now, an emboldened Kelly excoriates the crooked press, defends parents who want a say in their child’s education and scolds politicians who used COVID-19 to boost their powers. She’s fighting the system on her terms, without sacrificing her journalistic bona fides.
<h4>Clay Travis</h4>
The mind behind Outkick.com shares something in common with Portnoy. Neither thinks current sports networks speak to both halves of the country. For Travis, frustration with ESPN’s liberal bias clearly informed his Outkick the Coverage project, which grew so big he sold it to Fox Corp. earlier this year.
That hasn’t muted the site’s counter-culture voice, though. Nor did it stop Travis’ career ascent. Earlier this year Travis teamed with podcaster Buck Sexton to replace the irreplaceable Rush Limbaugh on the EIB radio network.
Now, Travis savages establishment players like Dr. Anthony Fauci and hypocrital athletes like Lebron James from both perches. 
The views expressed in this opinion piece are the author’s own and do not necessarily represent those of The Daily Wire.

Love-to-hate

Meet The Media Disruptors Hollywood Loves To Hate

Adam Carolla snagged no less than a comedy legend to christen his new Daily Wire comedy series.
Jay Leno, who ruled late night TV for two decades as host of “The Tonight Show,” joined the podcaster for the debut episode of “Adam Carolla: Truth Yeller.”
The hour-long show featured Carolla riffing on everything from COVID-19 “science” to “The View.” Carolla is one of the few comedians unafraid to tackle pandemic hysteria, but he also cracked wise about more conventional topics, too.
It’s Carolla’s willingness to follow the funny wherever it goes, and never apologize for a joke, that endeared him to folks flustered by the new woke agenda. It also makes him a snug fit for The Daily Wire, ready to challenge mainstream Hollywood with artists unafraid to tell it like it is.
That explains why Carolla name-checked the trans community and threw some comic jabs at President Joe Biden, as well as his predecessor, President Donald Trump.
Neither came off as angry or eager for the crowd’s approval. Carolla doesn’t pledge allegiance to one political party. He’s a comedian, and he’s here to make us laugh. It’s why inviting Leno to join him for the debut episode sent a similar message.
Leno’s “Tonight Show” reign found him poking fun at both sides of the aisle, the way late night hosts did before Trump descended that infamous escalator in 2015. Leno maintains a clean comic style, avoiding dark material in favor of jokes the whole audience can enjoy. He still seemed to feed off The Daily Wire’s rebellious energy, sounding scrappier than usual during “Truth Yeller.” He even uncorked a “pronoun” joke.
No one in the packed club clutched their pearls.
“Truth Yeller” began with Carolla’s stand-up routine. The lanky comic, dressed in a dark suit and tie, showcased his knack for observational humor. He mocked old-school TV sets that were deeper than they were wide, and the absurdity of telling masked airline passengers to risk COVID-19 to scarf down fiesta mix.
“I don’t really think this is science,” he noted.
That simple observation is more than most late-night hosts today can muster about the pandemic. They’d rather mock the unvaccinated and parrot Biden talking points than tell jokes with a kernel of truth to them.
Carolla leaned on his “Rich Man Poor Man” running bit before turning the show over to a free-wheeling improv session that delivered the show’s biggest laughs.
Leno arrived on stage mid-episode and quickly showed why his comedy career flourished for more than 40 years. His rat-a-tat delivery hasn’t aged a day, and he shared a few classic stories honed by years in the comedy trenches.
The two are off-stage chums, and their chemistry showed through their easy banter. They bring disparate comic styles to their work, with Carolla offering an Angry Everyman vibe to his routines. They still found common ground, especially during their improv segments.
Carolla famously resurrected his broadcasting career in 2009 after being let go from CBS radio. He channeled his gift for gab with a freewheeling podcast, years before fellow comics like Joe Rogan and Sarah Silverman struck gold with the medium.
“The Adam Carolla Show” became an instant hit, eclipsing Ricky Gervais’ podcast in 2011 to become the <a href="https://www.vulture.com/2011/05/adam-carolla-breaks-guinness-world-record-for-podcast-downloads.html">most downloaded show</a> of all time, according to the Guinness Book of World Records.
The podcast giant eventually expanded his digital empire to include other podcasts, a documentary film division, a line of Mangria adult beverages, and now, a comedy showcase with The Daily Wire.
“Adam Carolla: Truth Yeller” premiers Friday on The Daily Wire. Become a member and check out the show <a href="https://www.dailywire.com/show/adam-carolla-truth-yeller">here</a>.
The views expressed in this piece are the author&#8217;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>.

Jay Leno

Jay Leno, Adam Carolla Get Big Laughs During Premier Of Daily Wire’s ‘Truth Yeller’

The Daily Wire

We’ll never get tired of watching Bond, James Bond, save the world.
That’s assuming, of course, the next Bond won’t fret over the right pronouns or mansplain to future Bond Girls — sorry, Bond Birthing People.
Some movie franchises maintain our affection for years, if not decades. The “Harry Potter” series, for example, started out solid and ended with a bang with the eighth and final installment.
The “Mission: Impossible” series hit its current formula during part four (“Ghost Protocol”) and remains as good as ever. The “Rocky” saga sputtered with the fifth story, but “Rocky Balboa” and the “Creed” films found it rising from the canvas.
Other sagas show their age, though. The following six franchises typify this cinematic decline. We may have loved them long ago, but they overstayed their welcome.
Indiana Jones
Imagine being the actor who brought Han Solo and “Blade Runner’s” Rick Deckard to life and still having a third iconic character in your hip pocket. Harrison Ford’s Indiana Jones starred in three of the most beloved action films of all time. The 1981 gem “Raiders of the Lost Ark” kicked off the franchise, delivering near-perfect thrills in an ode to cliffhanger serials of yore.
“The Temple of Doom” and “The Last Crusade” proved “Raiders” was no fluke, but the franchise went into cold storage for 19 years before Ford snapped his whip once again. Sadly, “Indiana Jones and the Kingdom of the Crystal Skull” proved as ghastly as its title. And no, we didn’t want Shia LaBeouf to take over for his cinematic pappy.
Three out of four ain’t bad, but Team Indy decided Ford should bring the character back for one more round. The problems with that plan are plentiful. The great Steven Spielberg is no longer behind the camera for part five, and while director James Mangold of “Ford v. Ferrari” fame is a solid replacement, he’s no Spielberg.
Who is?
Even more depressing? Ford is in his late 70s, and while he looks heartier than most septuagenarians it’s hard to square Father Time with the Indy of his youth. The film already suffered a delay due to a Ford injury, and audiences won’t be able to see the results until 2023 at the earliest.
The whole fifth installment feels like a feeble attempt to extend a franchise without having an organic reason for doing so. Can great art spring from such a scenario? It’s possible, but would you bet on it?
Fast &amp; Furious
It might be the most unlikely franchise of all. The first film in the series, 2001’s “The Fast and the Furious” delivered B-movie thrills, but it was hard to spot the saga embedded within. By the third entry, “Tokyo Drift,” we had new main characters and franchise star Vin Diesel makes but a cameo appearance.
Part 4 reunited Diesel’s Dom and ex-cop Brian O’Conner (Paul Walker), and the “F&amp;F” magic kicked in big time. Like “Mission: Impossible,” the series creators snagged a can’t miss formula of insane stunts, larger-than-life personalities, and a dash of family.
Except “Fate of the Furious,” AKA part 8, showed that formula wearing thin. The most recent entry, the economically titled “F9,” found the franchise in full meta mode. The crazy stunts now defy every molecule of logic, our heroes head off into outer space like a Looney Tunes cartoon and the “family” sentiment feels manufactured, not relatable. This franchise is running on fumes, but we’re about to get two more installments in the years to come.
Die Hard
Bruce Willis wasn’t always a VOD star for hire. Sure, today he’s famous for walking through a half dozen B-to-C movies a year, but in the 1980s he was the dashing half of ABC’s “Moonlighting.” That all changed when he took a role originally considered for Frank Sinatra (<a href="https://www.businessinsider.com/frank-sinatra-originally-offered-lead-role-in-die-hard-2014-3">really</a>), the feisty New York Cop John McClane in 1988’s “Die Hard.”
The film changed Willis’ career forever and delivered one of the decade’s best action films. Naturally, Hollywood handed Willis as many sequels as he could handle. The first two, “Die Hard 2” and “Die Hard with a Vengeance,” couldn’t replicate the original but showed we’d follow this rogue cop anywhere.
And then the generic machinery kicked in.
“Live Free or Die Hard” and “A Good Day to Die Hard” offered more panache in their titles than the actual films.
Hollywood suits have spent years trying to remake/rebrand/re-imagine “Die Hard” and/or its iconic hero with no luck … yet. To paraphrase Richard Crenna in “First Blood” … “It’s over Johnny … it’s OVER.”
Saw
You could argue the franchise offers one bona fide treat, and the rest were glorified torture porn features. Director James Wan, who would later deliver superior scares with “The Conjuring” and “Insidious,” served up a can’t miss story of two men trapped in a near-impossible puzzle. The film introduced us to Jigsaw, brilliantly played by Tobin Bell, along with his puppet doppelganger.
Gory? You bet. It also grabbed us by the throat and wouldn’t let go.
Subsequent stories killed off Jigsaw, a terrible move the franchise attempted to erase with clumsy results. The franchise formula now spent, the saga spat out a cash grab 3D installment before taking a seven-year break.
“Jigsaw” tried to recapture the franchise’s early glory, but fewer moviegoers seemed to care. 
Horror franchises, like their respective monsters, never truly die. So we got “Spiral,” an attempt to revive the story courtesy of Chris Rock. Because … when you think horror, the first actor who springs to mind is the comedian who took a satirical knee when President Barack Obama took the oath of office.
“Spiral” offered little save a few sparks generated by the great Samuel L. Jackson. Please … let this franchise die.
Alien
Is there a better origin story and sequel combo than “Alien” and “Aliens?” That’s rhetorical, of course, although “Aliens” director James Cameron came close with “Terminator” and “Terminator: Judgment Day.”
Those aforementioned hits ensured the franchise would live on for years, but what we’ve seen since then has been a mix of dispiriting and disappointing. “Alien3” is a curiosity, with a young David Fincher flexing his muscles with its grim storytelling and occasional highlights. “Alien: Resurrection” brought a campy tone to the saga, one that no one asked for at the time (or since). 
“Alien” director Ridley Scott returned to the scene of the crime with “Prometheus” and “Alien: Covenant.” Both offered some new ideas but weak new characters who couldn’t compete with Sigourney Weaver’s Ripley. And, by the final scenes of “Covenant,” it was clear Scott had little ability to push the story in fresh directions.
The less said about the repugnant “Alien vs. Predator” films, the better.
Star Wars
George Lucas created three space adventures in the late 70s, early 80s that drew near-universal acclaim. Sure, those Ewoks had their detractors, but the “Star Wars” trilogy transformed pop culture, period.
So when Lucas brought the saga back with 1999’s “The Phantom Menace,” fans worldwide cheered the news. And then they saw the actual film. Yeesh. The second “Star Wars” trilogy got progressively better, but hope returned when Lucas sold the saga to Disney and the Mouse House prepared a third and final trilogy.
Luke! Leia! Han! All together again. Not so fast.
“The Force Awakens” killed off Han Solo and kept Luke Skywalker off-screen until the very last moments. “The Last Jedi” offed Luke, and by the time “The Rise of Skywalker” hit theaters Carrie Fisher had passed, leaving only scenes she shot prior to her death.
That only scratches at the trilogy’s problems, the lot of which turned many fans against the IP. Yes, Disney+’s “The Mandalorian” lured a few fans back to the fold, and the prequel film “Rogue One” proved superior to all the recent trilogy.
Still, this is one comatose franchise, and news that <a href="https://www.deseret.com/2021/11/9/22771994/star-wars-movie-rogue-squadron-delay">“Rogue Squadron” just got delayed</a> means it won’t have the chance to win fans back for a few more years. Stick a fork in cinematic “Star Wars.” It’s done.
The views expressed in this opinion piece are the author’s own and do not necessarily represent those of The Daily Wire.

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Christian Toto

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