This article is part of <a href="https://www.dailywire.com/topic/upstream" target="_blank" rel="noopener">Upstream</a>, The Daily Wire’s new home for culture and lifestyle. Real human insight and human stories — from our featured writers to you.
***
“Off Campus” serves millennial women all the soapy college romance they could ever want. But even though it trounced “The Summer I Turned Pretty” in views, Amazon’s <a href="https://variety.com/2026/tv/news/off-campus-ratings-amazon-prime-video-1236759095/">third most-watched show</a> ever didn’t need to go so hard on the explicit content to tell the story. 
“I’m Six Flags, baby. Everybody wants a ride,” hockey hunk Dean Di Laurentis says with a smirk. “They come for a good time, not a long time. And that’s fine by me.” Heh heh heh. Aaand action on shenanigans.
Like “Heated Rivalry” for moms with Prime accounts, “Off Campus” comes out swinging with a lingering closeup on main squeeze Garrett Graham’s backside less than two minutes into the series. Directing the female gaze slightly north, a tattoo between his shoulder blades reads “nullum gratuitum prandium,” Latin for “there is no free lunch.” (I feel like the only nerd who ever paused the show and ChatGPT-ed this, but now you know.)
By 16:34, I was fully floored by the revelation that a streaming series on the same platform where I buy Paul Newman dog treats could show NSFW body parts doing NSFW stuff to an audience that most definitely includes teens. Despite the TV-MA alert (meaning the mature content is allegedly suitable for ages 18-plus), it gave me the ick. 
I was a kid once, in a home without cable. If ever a PG kissing scene made it past the nine levels of network censorship and onto primetime, my mom would fly to the TV to cover it with a blue throw from our sofa (the censorship blanket!) until the scene was over. 
I have since seen some things. Three-quarters of the way through the first episode of “Off Campus,” my eyes were already fully dilated with gender equitable top-and-bottomlessness, as well as a wide variety of inspiration for when mommy and daddy really love each other.
For the record, I’m not a prude. I spent decades working in Hollywood and went to art school where we regularly sketched nude strangers to learn to interpret the human form like the Old Masters. I appreciate the cinematography of “<a href="https://youtu.be/hjBdusX225s?t=14">Jack, I want you to draw me like one of your French girls</a>” from “Titanic” and the “<a href="https://youtu.be/b1OGN-1QhHI?t=149">Cry To Me</a>” sequence in “Dirty Dancing,” which threaded the needle on tasteful late-&#8217;80s dirty dancingness. Even though the premise of “Off Campus” didn’t hook me right away (the main college co-eds pretend to be a believable couple so an outside love interest will suddenly want the girl he can’t have), and the classroom backdrop smacked of vampirey werewolf love triangles of the aughts, I was determined to watch the eight-part series with my boyfriend and finally discover what all the fuss was about.
“You’re on your own,” he announced, after suffering through episode one. Not for guys. Noted.
Still, I was fascinated by a girl from my gym who was already watching the season for a third time — and editing her Hinge profile to describe her ideal match as a “Garrett Graham type” — less than a month after the series debuted.
Actual hockey entered the chat halfway through the first episode. Guys, I’m neither Catholic nor plain folk, but I felt like an Amish nun streaming this stuff, covering my head, my ankles, and my eyes. At least figuratively. I wondered aloud to female friends if they, like the Allie Hayes character, ever just popped off their bras and held serious conversations with same-sex roommates with the headlights on. “Yes.” “No!” Respondents were divided.
Before episode two began, I got an ad for the dating site Tinder, which apparently streams Spotify now. The show returned with a lingerie-clad makeout and a bored couple flipping through a Kama Sutra-style calendar for ideas. But 20:30 hit with a “we have to practice kissing in the weight room” scene. Ten minutes later, Allie was dancing at a frat party dressed like JLo in barely there, plunging Versace.
By episode three, I briefly blacked out thinking that maybe the show was mellowing out on the mature themes. But 1:45 brought me back to reality with an intimate dream sequence involving a piano; 8:55 involved a couple taking a shower. At 12:37, lead Hannah Wells walks in on her “fake boyfriend” Garrett and another girl. He wipes his mouth as they do the “don’t you ever lock your door” routine, and at 18:49 we keep things moving with another spicy dream sequence.
At the time of filming, the actress playing Hannah, <a href="https://people.com/off-campus-actress-ella-bright-defends-nearly-10-year-age-gap-with-costar-belmont-cameli-11984326">Ella Bright</a>, was just 18. The rest of the cast was roughly a decade older. 
Episode four notoriously featured Hannah hoping her nonboyfriend-friend Garrett could help her overcome her trauma to finally experience pleasure. Separately but in Garrett’s bedroom together, at 20 minutes in, they … pop the champagne. (I’m running out of words.) Shortly after this, at the halfway point in the season, they realize they have feelings for each other. Utterly shocking, seeing as how much “practicing” they’ve done together. 
It’s this moment where Hannah ditches her third wheel crush and goes all in on Garrett. The scene unfolds in the arena, as Garrett busily battles his inner demons on the ice, rage-shooting pucks on an open goal. Hannah’s beautiful voice echoes through the empty seats; Garrett whips off his skates and runs to her. They embrace. They kiss. The chemistry has never been so real.
I briefly consider where the show goes from here if the will-they-won’t-they leads just got together. As I begrudgingly acknowledge my investment in the storyline, I realize — wait a minute. They had all their clothes on for the most compelling scene of the show! 
All those bras, bath towels, and perfectly rumpled sheets were just shiny objects. For a good show to become great, the relationships need to ring true.
That compelling moment was followed by episode five (1:11 through 4:19), literally the longest unpaywalled or age-gated montage of Garrett and Hannah’s highly amorous relationship. Do they ever study? Does all the stress about hockey and music scholarships from earlier matter?
I’m aware that the series is based on the books by New York Times bestselling author <a href="https://www.amazon.com/Complete-Off-Campus-Set-Elle-Kennedy/dp/1464221715">Elle Kennedy</a>, but it seems to be adapted for TV by out-of-work adult entertainment writers. With the explosion of <a href="https://www.dailywire.com/news/onlyfans-made-a-few-stars-rich-but-what-most-creators-actually-see-is-another-story">OnlyFans</a>, it’s surely been tough times for the industry. 
I take more notes as I trudge through the rest of the season. Episode six didn’t load until I watched an ad for Liquid I.V.’s “Ring Pop Cherry” flavor, which is related to the show in at least two ways. Bedroom scenes and bare chests do nothing for the story, and a bright pink “intimacy device” gets in on the fun as part of an interrupted bathtub romp. 
For those of you hoping for none of this, please see PG story-driven episode seven. But by the final episode, prepare yourself for the full monty in the men&#8217;s locker room. Don’t worry, it’s the camera, not you, gawking at each player’s private parts.  
“Off Campus” season two will descend in 2027. And while the storyline is set to shift to other faces in the friend group, I imagine that, once again, there won’t be much need for the wardrobe department.

Off_Campus_S1_UT_102_250618_HENLIA_0806RC4_3000

Why Hollywood Thinks Every Romance Needs More Sex

Amazon Prime

off campus

Upstream

This article is part of <a href="https://www.dailywire.com/topic/upstream" target="_blank" rel="noopener">Upstream</a>, The Daily Wire’s new home for culture and lifestyle. Real human insight and human stories — from our featured writers to you.
***
Taylor Sheridan has discovered that his keyboard is a money-printing machine for both himself and Paramount+. From “Yellowstone” to “1883,” “Mayor of Kingstown,” and “Landman,” Sheridan has built a sprawling empire of gritty American archetypes: Montana ranchers, Oklahoma mobsters, Texas oil barons, and anyone else Hollywood might have deemed too working-class and out of touch with its consumer base of working-from-home metropolitans.
His latest work, “Dutton Ranch,” combines many of the best elements of “Yellowstone” without much of the whiny, self-aggrandizing nonsense that hampered the show in its later seasons. We get it, Monica: You are a proud Native American woman and think the loving multimillionaire ranching Dutton family you married into is a bunch of racist colonizers (thankfully, her character has not returned).
Kevin Costner’s gruff, commanding charisma is sorely missed, but the heart and soul of Sheridan’s cowboy universe was always Rip Wheeler (Cole Hauser). I may be a stereotypical yuppie software engineer who has only once tried (unsuccessfully) to ride a horse, but most scenes with Rip leave me compelled to <a href="https://www.dailywire.com/news/the-city-sold-me-the-dream-the-fine-print-changed-everything">sell the downtown condo</a>, buy a Stetson and a pickup truck, and move to a ranch.
Beth Dutton (Kelly Reilly), meanwhile, returns as formidable as ever, but with a renewed sense of purpose. In the final seasons of “Yellowstone,” Sheridan seemed to lose sight of how to write her, reducing one of television’s more compelling characters to impulsive tirades and alcoholism. Her drinking alone could have kept Tito’s running. Here, she remains profane and ferocious, balancing farm-girl tenacity with Christian Louboutins and investment-banker shrewdness, but her fury is now directed toward securing a new life for herself and her husband.
Following the events that ended “Yellowstone,” Beth and Rip, along with their adopted son Carter, move to Texas to start over. It is a classic American story of settling somewhere unfamiliar, staking a claim, and trying to build something of your own despite hardship and hostility.
And there is no shortage of hardship. At one point, their cattle contract foot-and-mouth disease, threatening the ranch’s survival and forcing Rip into the brutal necessity of rounding up and shooting an entire doomed herd. Beth laments the toll it takes on him: “That man has lost more than he’d ever admit,” she says, adding, “He devoted his life to the Yellowstone. This was supposed to be his time, his ranch.” There is an important and subtly conveyed lesson here, that life is not fair, and no one is owed a reward merely because he has suffered nobly.
Among the most welcome additions to Sheridan’s world is Ed Harris as Everett McKinney, a gregarious, salt-of-the-earth veterinarian. But Sheridan does not write twee HGTV television that is set in the countryside. Problems are not confined to veterinary and agricultural woes; sooner or later, we expect our dose of extortion, corruption, and murder. In contrast to the power Rip and Beth held by association on “Yellowstone,” here in Texas they are newcomers, pitted against the established and crooked Jackson family, led by the ruthless matriarch Beulah Jackson, whose deep pockets seem to reach everywhere from the state cattle industry to the police force.
Though Sheridan is thankfully reluctant to sermonize about politics, his work remains beguiling fodder for conservatives. In this sense, he is the conservative answer to Darren Star. Where Star built fantasies around cosmopolitan women in couture navigating careers, brunch dates, and fleeting romances, Sheridan gives us ranchers, oil workers, and cowboys who grow thick beards, wake up at 3:30 AM, work with their hands, and have no use for LinkedIn or ChatGPT.
Of course, most of us are more comfortable admiring this life from afar. There is a running joke among watch enthusiasts that most people who buy “tool watches” — Rolex Submariners built for diving or Daytonas built for race car drivers timing laps — only ever use them as aesthetic props in office jobs. Many city truck owners rarely haul anything more demanding than groceries or their kids’ hockey equipment. How many Yeti cooler owners have been backcountry camping? Some would call such people posers. But we buy these things because they offer us a connection to worlds we lack the courage, will, or circumstances to enter. Sheridan’s heroes are compelling because they inhabit such lives.
As Beth and Rip fight to establish new roots, a parallel storyline follows Carter (Finn Little), who, for someone raised by Beth and Rip, ought to have more common sense than to cut school in pursuit of a shortcut to cowboying while strutting around after a pretty young blonde. But then again, he is a teenage boy, and in any skirmish between brains and pubescent hormones, the former has little hope.
There is palpable hardship in Carter’s circumstances. With his adoptive parents too busy fighting for the ranch to tend to his teenage angst, he develops a budding friendship with Dwight White (Ray McKinnon), a downtrodden cowboy of questionable judgment who keeps an African leopard on his property. But Dwight offers Carter a job and proffers some much needed counsel. “Growing up fast is highly overrated,” he tells him. Carter may be eager to leapfrog adolescence and become the man he imagines himself to be, but, Dwight warns, “You don’t realize how young you are until you’re old and realize it’s too late.”
Sheridan’s wrangler epics are like “Game of Thrones” with cattle and cowboys. They are action fantasies about the sorts of characters we aspire to be, or at least aspire to have in our lives: loyal, brave, stubborn men of action. If you haven’t yet seen “Yellowstone,” I would recommend watching the first three seasons for Costner’s aura alone. But “Dutton Ranch,” streaming new episodes on Prime through July, can be enjoyed in isolation. Sheridan’s great strength is crafting myths of large personalities against larger landscapes, all in pursuit of the American dream of carving out a life through grit and sacrifice. At its best, “Dutton Ranch” understands why that dream still has power for those of us watching from the comfort of our living rooms, far from the hard and unglamorous work that makes it possible.
***
Harry Khachatrian (<a href="https://x.com/harry1t6">@Harry1T6</a>) is a film critic for the Washington Examiner. He is a software engineer, holds a master’s degree from the University of Toronto, and writes about wine at <a href="https://www.betweenbottles.com/">BetweenBottles.com</a>.

RP_103_EM_0913_00034_RT

Taylor Sheridan Saddles Up For Another Ride Through The American Myth

Taylor Sheridan

Amazon apparently decided Americans should never have to leave the house again.
The company is now <a href="https://www.aboutamazon.com/news/retail/amazon-now-30-minute-delivery">testing</a> a new delivery service that can reportedly get products to your front door in around 30 minutes. So, the days of realizing you forgot toothpaste, paper towels, coffee creamer, or phone chargers may officially be over.
At this point, Amazon isn’t competing with stores anymore. It’s competing with your ability to put on shoes and drive somewhere yourself.
The new service, called “Amazon Now,” is beginning to roll out in several major cities across the country, with more locations expected to follow. Customers will be able to order everything from groceries and snacks to electronics and household items through the ultra-fast system.
The idea behind it is simple: instead of shipping products from giant warehouses far outside city limits, Amazon is relying on smaller local hubs positioned much closer to neighborhoods and downtown areas.
That dramatically cuts delivery times and lets drivers move orders almost immediately after they’re placed.
Translation? Your impulse buys may soon arrive before you even regret making them.
The rollout is part of Amazon’s growing obsession with speed as the company keeps pouring money into faster shipping, AI-powered logistics systems, and even drone technology designed to bypass traffic altogether.
And yes, people are absolutely going to use this for ridiculous things.
Forgot hamburger buns right before the cookout starts? Amazon.
Need deodorant before a date? Amazon.
Realized five minutes before bedtime that the kids are out of toothpaste? Amazon.
The company says Prime customers will pay a small added fee for the rapid delivery option, while non-members will pay more.
Amazon has spent years training people to expect packages almost instantly. Now it’s pushing even further into a world where “I’ll just order it” becomes faster than making a store run yourself.
Honestly, we’re about two steps away from Amazon delivering things before people even realize they need them.

Cardboard package delivery at front door

Amazon’s Newest Delivery Push Feels Straight Out Of The Future

Amazon

Unknown Man Watching Streaming Service on Smartphone at Home

I Looked Into Why Streaming Became Slop. This is How to Fix it.

Film

Hollywood

Hulu

Matt Walsh

Movie Theaters

Movies

Netflix

Oscars

This article is part of <a href="https://www.dailywire.com/news/introducing-upstream-a-lifestyle-and-culture-section-of-the-daily-wire" target="_blank" rel="noopener">Upstream,</a> The Daily Wire’s new home for culture and lifestyle. Real human insight and human stories — from our featured writers to you.
***
Impeccably tailored tweed suits, weighty wool overcoats, and vast, sprawling brick-laden estates that inspire sudden compulsions to sell all your possessions and relocate to the British countryside: These are among the enchanting hallmarks of filmmaker Guy Ritchie’s adaptation of &#8220;Young Sherlock.&#8221; It&#8217;s a new Amazon Prime series based on Andrew Lane’s novel series inspired by Sir Arthur Conan Doyle’s venerable detective.
Set in a gritty Victorian England, the show imagines what Holmes’s formative years might have looked like before he settled into 221B Baker Street with his flatmate, Dr. Watson. Portrayed by Hero Fiennes Tiffin — who previously appeared in Ritchie’s The Ministry of Ungentlemanly Warfare (2024) — the incipient and still uncouth Sherlock is plucked from self-inflicted trouble by his watchful older brother, Mycroft (Max Irons), already a neat and trim bureaucrat. Conan Doyle likely would not have envisioned his hero this way, but in Ritchie’s hands Sherlock emerges as something like a British Will Hunting. Like Matt Damon’s swaggering savant, the young Holmes, despite his glaring brilliance, lacks discipline, professional ambition, and any meaningful instinct for self-preservation. After reading a professor’s mathematics textbook overnight, he interrupts the man’s lecture the following morning to correct him, then proceeds to solve a complex chalkboard problem in a scene that borrows too bluntly from Good Will Hunting. Elsewhere, he pursues petty criminal amusements such as pickpocketing purely for the clandestine craft — the very stunt that lands him in jail at the series’ outset.
Though Conan Doyle never clearly elaborated on Holmes’s education, it is no stretch to imagine the Holmes brothers as Oxford men. It is in those august halls that Ritchie stages the opening stretch of the series, bringing his usual directorial flair to the university’s courtyards, corridors, and book-filled interiors. Tiffin and Irons exhibit a palpable chemistry as Sherlock and Mycroft, sharing precisely the sort of fraternal dynamic one imagines between the Holmes brothers: affectionate (calling one another “brother dear”) and intellectually respectful, yet animated by a competitive spirit tantamount to the Space Race, with Mycroft’s composure providing an elegant contrast to Sherlock’s disorderly eccentricities. Both are well cast.
But the real star of Ritchie’s origin story is Sherlock’s infamous future nemesis. We are soon introduced to an irresistibly charming James Moriarty (Dónal Finn), sporting a spry Irish accent and still an innocent inchoate. Finn plays him like a rebellious James Dean, quickly befriending Sherlock, drawing him out of his shell, and urging him to flirt with women, skirt the law, and scorn polite society — not that Sherlock requires much encouragement. A running joke early in the season is that Sherlock, despite his brilliance and tendency to wander into danger, does not know how to fight. Moriarty teaches him how to box and defend himself, among other streetwise lessons. There is something perversely fascinating about the notion that one of literature’s great rivalries might once have resembled an intense youthful friendship. Nearly as intriguing as watching the origins of Sherlock’s deductive gifts is observing the still-boyish Moriarty reveal early signs of sociopathy beneath the charisma, from his detachment from violence to the unnerving ease with which he regards — and dismisses — murder as a situational necessity.
Spanning eight episodes, the season’s overarching narrative revolves around what must be Sherlock’s first real case. Without divulging the cleverly concocted plot, I&#8217;ll say the mystery is set in motion when a Chinese princess, Shou’an (Zine Tseng), visiting Oxford with priceless ancient scrolls in tow, is nearly robbed. From that incident unfolds an intricate and multifaceted conspiracy entangling members of the British government, Oxford’s academic elite, and Sherlock’s own family, all operating as warring interests. Overcomplicated plots of this sort are among Ritchie’s specialties and have by now become something of a trademark cliché, but it is hard to fault the formula when executed so well.
Among the many enjoyable aspects of watching Sherlock’s earliest detective work is seeing how Ritchie visualizes his photographic memory. Sherlock will stand in a room with Moriarty and mentally reconstruct prior scenes within that same space, replaying conversations and reassembling visual evidence with startling precision. Conan Doyle described this faculty as Holmes’s “mind palace.” Through sheer concentration, Sherlock can retrieve such minute details as the design on a matchbox left on a side table. It is an effective way of dramatizing his amplified cognition without reducing Holmes’s intellect to the earlier cartoonish riff on Good Will Hunting.
Shou’an, meanwhile, makes for a compelling heroine. Drawn into the broader mystery, she is a gifted martial artist, and her fight sequences are among the series’ highlights. Ritchie has long liked to fuse Sherlock Holmes with hand-to-hand combat, as he did in his Robert Downey Jr. films, reimagining Holmes as a bare-knuckle boxer. Appreciably, Shou’an is not presented as some implausible superwoman who effortlessly flings aside men twice her size. Despite her Mulan-like prowess, she is bested more than once by a towering Turkish henchman (Numan Acar); the series wisely emphasizes that her greatest strengths are cunning, adaptability, and intelligence — qualities central to any serious Sherlock adaptation.
Colin Firth also turns up in a regrettably minor role as Sir Bucephalus Hodge, a facetious and affluent Oxford patron. Firth commands such effortless authority through even mere facial movement that it quickly becomes apparent how formidable a talent he is, especially among the younger cast. He constantly seesaws between affability and menace, making it difficult to tell whose side he is really on. That same sense of instability runs throughout the plot as the mystery widens and loyalties grow harder to parse.
Beneath Ritchie’s reliable filmmaking gimmickry lies an equally compelling thread about fatherhood and family. Sherlock deeply admires his father, Silas (Joseph Fiennes), but as he digs further into the case, he begins to uncover uncomfortable truths about both his family and his own assumptions, so much so that he briefly comes to doubt even his own deductions. Extending beyond the mere solving of a mystery, the central tension becomes deciding whether loyalty ought to reside with blood, the law, or some higher moral principle. That struggle gives Sherlock’s coming-of-age story greater weight. For all the liberties the series takes with his swashbuckling youth, he remains recognizably Holmesian in a sense that he is a moralist, even when morality makes his life more difficult.
Young Moriarty, by contrast, is portrayed as a scholarship student with little money and no real family to speak of. To the show’s credit, it resists the lazy modern temptation to gloss over evil as merely the byproduct of hardship or institutional unfairness — or, in the case of an Irishman, the bitter and corrupting pangs of British oppression. Moriarty’s emerging psychopathy is instead presented as an innate defect of character, making it all the more unsettling because it cannot be neatly rationalized as a social grievance.
Ritchie also retains his flair for music. A nice touch throughout the series is the way the soundtrack adapts to its various settings. As Sherlock’s pursuit carries him from Oxford to London to Paris — where the locals are found indulging in France’s national pastime of violent revolutionary upheaval — and onward to Constantinople, the jukebox shifts accordingly, playing upbeat rock covers performed in the respective local languages. It is a playful stylistic flourish, and an effective one.
Purists will inevitably object that innumerable details are wrong or that the Victorian gentleman of Conan Doyle’s stories could never plausibly have been such a bruised and brash rebel in his youth. But such objections are mostly beside the point. &#8220;Young Sherlock&#8221; is not attempting some canonical reconstruction of Holmes’s beginnings. It is trying to be a stylish, energetic, and entertaining prehistory of a beloved character, and on those terms it succeeds. Bolstered by strong performances, a beautiful and immersive world, a well-written script, and an engagingly unpredictable mystery, &#8220;Young Sherlock&#8221; is a polished and thoroughly enjoyable series well worth your attention.
***
Harry Khachatrian (<a href="https://x.com/Harry1T6">@Harry1T6</a>) is a film critic for the Washington Examiner’s Beltway Confidential blog. He is a software engineer, holds a master’s degree from the University of Toronto, and writes about wine at BetweenBottles.com.

Dónal Finn, Hero Fiennes Tiffin. Photo credit: Daniel Smith/Prime

The Sherlock Origin Story That Skips The Modern Lectures

Mystery

As families gather this holiday season, finding entertainment that is both edifying and enjoyable shouldn’t require a culture-war battle. For years, it has. Here’s the good news: Americans are winning.
As a religious-freedom advocate and mother of a large family, I live that struggle from both angles. In my work defending conscience rights, I see how culture shapes values. At home, I face the daily challenge of ensuring my children know their Christian faith and develop well-formed consciences in a world often working against them.
For families like mine — with kids at home in countless afterschool activities and others in college — Thanksgiving weekend offers rare time together. But finding wholesome entertainment that captivates everyone? That&#8217;s been the real challenge. Movie nights should be simple, not exercises in scrolling through endless streaming menus filled with questionable content.
Fortunately, the tide is turning. A new generation of filmmakers is proving that you can beat Hollywood at its own game by offering quality entertainment with uplifting messages. 
Two summers ago, in July of 2023, Angel Studios released “<a href="https://www.angel.com/press/sound-of-freedom">Sound of Freedom</a>,” earning over $250 million even though the Hollywood establishment tried to bury it. The film exposed international child sex trafficking while becoming a cultural phenomenon that rattled the entertainment elite. Then there are the <a href="https://kendrickbrothers.com/">Kendrick Brothers</a>, longtime producers of Christian films that inspire audiences by addressing marriage, online pornography addiction, and community rebuilding.
New on the scene is the <a href="https://www.thewonderproject.com/">Wonder Project</a>, a revolutionary enterprise producing its own original content for theaters as well as a subscription-based channel on the Prime streaming service offering over a hundred “value-driven” titles with classics like “The Sound of Music” and “Lincoln” alongside original productions like the “House of David” series. The platform also provides edited versions of popular films, making true co-viewing possible without scrambling for the fast-forward button.
I recently watched one of the Wonder Project&#8217;s original productions, “<a href="https://sarahsoilfilminspires.com/">Sarah&#8217;s Oil</a>,” at a nearby movie theater with my four youngest children, all close in age to the film&#8217;s 11-year-old protagonist. We witnessed something rare: a movie that held their complete attention while teaching profound lessons about courage and faith. The true story follows Sarah Rector, an African American girl in early-1900s Oklahoma, who believes oil lies beneath her barren land. She is proven right — becoming one of America’s first female African American millionaires at eleven.
What makes “Sarah&#8217;s Oil” exceptional is what it proves possible. A film tackling racial injustice and economic exploitation while remaining appropriate for children. No lectures about systemic racism. No victim narrative. Just an inspiring American story of perseverance, faith, and determination. It illuminates the good, the true, and the beautiful — something Hollywood has largely forgotten how to do.
In an age where every family member often retreats to their own screen and algorithm-curated bubble, shared cultural experiences have become almost revolutionary. Grandparents, parents, and children gathering around the same story. Laughing together, being moved together, is how values are shared across generations. It&#8217;s how family bonds are strengthened. When a film can captivate both an 80-year-old grandmother and a 9-year-old grandchild, it creates common ground for the kind of conversations that matter. These shared moments are the antidote to the isolation afflicting both young and old. Hollywood once understood this.
Counter-culture media initiatives like the Wonder Project have made smart business decisions by listening to families and giving them what they want: Content that unites, stories that inspire, heroes worth emulating.
Every family that chooses wholesome entertainment over progressive-left propaganda sends a market signal Hollywood can&#8217;t ignore. Every packed theater for a faith-based film is a referendum on the entertainment establishment. Every streaming subscription to values-driven content proves what Americans actually want.
This Thanksgiving weekend, make a statement. Choose entertainment that edifies and entertains. Be part of a movement for change that is winning. American families are taking back the culture, one movie or series at a time. Hollywood thought we wouldn&#8217;t care.
The market is proving them wrong. And we are just getting started.
* * *
Andrea Picciotti-Bayer is director of the<a href="https://conscience-project.org/"> Conscience Project</a>.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.
* * *
<h3>Right now, DailyWire+ annual memberships are fifty percent off during our Black Friday sale. Join now at <a href="http://dailywire.com/blackfriday">dailywire.com/blackfriday</a>.</h3>

Rear view of a family watching TV on sofa at home.

This Thanksgiving, Choose Movies That Will Bring Your Family Together

Angel Studios

Entertainment

Family Values

Thanksgiving

Amazon Prime Video is backtracking after fan outrage erupted over its decision to digitally erase guns from James Bond promotional artwork — a move critics mocked as absurd.
The images in question featured actors who played the Bond character, including Sean Connery, Roger Moore, Pierce Brosnan, and Daniel Craig. But rather than holding guns in the images, all of them stand awkwardly and empty-handed. 
The company’s revised artwork now features images from the movies themselves, though none of the promotional images show 007 with a weapon.
<blockquote class="twitter-tweet">
They photoshopped all the guns out of the James Bond movie thumbnails.
Just in case you still had hope for Amazon being in charge of the franchise. <a href="https://t.co/eeosPEPFnJ">pic.twitter.com/eeosPEPFnJ</a>
— John A. Douglas (@J0hnADouglas) <a href="https://twitter.com/J0hnADouglas/status/1974160271448174917?ref_src=twsrc%5Etfw">October 3, 2025</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
In posters from Connery’s “Dr. No” and Brosnan’s “Goldeneye,” the guns were edited out of the original images and replaced with nothing. In Moore’s “A View To A Kill” and Craig’s “Spectre,” the images were altered and cropped to remove the weapons.
The backlash on social media began on October 5, James Bond Day, when UK-based fans noticed the blatant photo manipulations.
<a class="c-link c-link--focus-visible" href="https://get.dailywire.com/subscribe/plus/?utm_campaign=fall40&amp;utm_content=fallsale&amp;utm_medium=website&amp;utm_source=editorial" target="_blank" rel="noopener noreferrer" data-stringify-link="https://get.dailywire.com/subscribe/plus/?utm_campaign=fall40&amp;utm_content=fallsale&amp;utm_medium=website&amp;utm_source=editorial" data-sk="tooltip_parent">Get 40% off new DailyWire+ annual memberships with code FALL40 at checkout!</a>
“They photoshopped all the guns out of the James Bond movie thumbnails. Just in case you still had hope for Amazon being in charge of the franchise,” one person <a href="https://x.com/J0hnADouglas/status/1974160271448174917">noted</a>.
“Amazon have removed the guns from their Bond posters, giving the tantalising impression that Sean Connery and Pierce Brosnan think you’re a wanker,” British actor Rufus Jones <a href="https://x.com/rufusjones1/status/1974072843546804499">wrote</a>, echoing what many others were saying. 
“Gaaagh! I feel my testosterone levels dropping just looking at these,” a third fan <a href="https://x.com/NoahRayWrites/status/1974182585602617498">said</a>.
“When are they giving the characters on the posters purple hair and a mask?” another commenter <a href="https://x.com/PaulSkytrace/status/1974504185216610445">joked</a>.
Amazon acquired the rights to the Bond franchise in 2022. Reps for Amazon MGM said at the time of the acquisition that they were “committed to honoring the legacy” of James Bond, a fictional British Secret Service agent created by Ian Fleming in 1953. His popular books were later adapted into films, which became one of the highest-grossing movie franchises of all time, earning more than $7 billion at the box office since Sean Connery first took on the role of “Dr. No” in 1962.
The last film in the franchise, starring Daniel Craig as 007, “No Time to Die,” premiered in 2021 following a COVID delay. 
There are no known Bond movies in the works.

James Bond

Amazon Prime Dragged For Scrubbing Guns From ‘James Bond’ Artwork

Amazon Prime Dragged For Editing Guns Out Of 'James Bond' Artwork

Guns

Social Issues

World

There’s a lot of buzz about the upcoming documentary, “John Candy: I Like Me,” which premiered Thursday at the Toronto International Film Festival (TIFF).
Candy was just 43 when he died from a heart attack in 1994 at the peak of his career, shocking the Hollywood community. The Canadian comedian worked with some of the biggest names in the business, and many, including Steve Martin, Bill Murray, Martin Short, Catherine O’Hara, Macaulay Culkin, Mel Brooks, and Dan Aykroyd, participated in the documentary.
<iframe loading="lazy" title="John Candy: I Like Me - Official Trailer | Prime Video" width="500" height="281" src="https://www.youtube.com/embed/PrcQRsrBcCk?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>
The project was produced by actor Ryan Reynolds and directed by Colin Hanks, the son of actor Tom Hanks. The elder Hanks also appeared with Candy in “Splash” (1984). 
Culkin recounted how Candy served as a “paternal” presence on the set of the cult classic comedy “Uncle Buck” and was one of the first people in Hollywood to recognize that Culkin’s father was abusive.
“I think he always had that really great instinct,” Culkin recalled in the documentary’s trailer.
“I think he saw,” he continued. “Listen, even before the wave crested and the ‘Home Alone’ stuff was happening, it was not hard to see how difficult my father was. It was no secret. He was already a monster.”
“All of a sudden, the fame and the money came, and he became an infamous monster,” Culkin recalled. “He was already not a good guy. I think John was looking a little side-eyed, like, ‘Is everything alright over there? You doing good? Good day? Everything’s alright? Everything good at home? All right.’”
The actor said this was “a testament to the kind of man he was,” and said Candy “was just looking out for” him on set. He also mentioned Candy’s “paternal” presence in his life.
“It doesn’t happen that often. It actually happened less as time went on,” Culkin added. “I wish I got more of that in my life. It’s important that I remember that. I remember John caring when not a lot of people did.”
Candy’s other former co-stars and friends had glowing things to say about him as a colleague and as a person during the emotional trailer. 
“I can’t tell you what was right about John Candy, or what was wrong. But he was my friend,” Murray said. “And &#8230; I don’t wanna cry, but when you see him, when you see his face&#8230;.” he added, trailing off as he began tearing up.
Candy is famous for beloved films such as “Stripes,” “Splash,” “Spaceballs,” “Planes, Trains and Automobiles,” “Uncle Buck,” and “Cool Runnings.”
The documentary is said to include “never-before-seen home videos, intimate access to his family, and candid recollections from collaborators to paint a bigger picture of one of the brightest stars of the ’70s, ’80s and ’90s,” per the synopsis.
“It’s the story of a son, husband, father, friend and professional driven to bring joy to audiences and loved ones while battling personal ghosts and Hollywood pressures.”
“John Candy: I Like Me” becomes available on Prime Video starting October 10.

John Candy

Hollywood Gets Emotional Over Beloved Comedian In ‘John Candy: I Like Me’

Celebrities

Documentaries

U.S.

A new show imagines how a Chinese invasion of Taiwan would transpire — and what consequences it would have.
“Zero Day Attack” —  a 10-part series that draws its <a href="https://csrc.nist.gov/glossary/term/zero_day_attack" target="_blank" rel="noopener">name</a> from a cyber attack that takes advantage of an unknown system vulnerability — premieres in Taiwan this week. The show, which is funded in part by the Taiwan Ministry of Culture, highlights <a href="https://www.pbs.org/newshour/show/with-future-at-risk-taiwan-prepares-citizens-to-resist-potential-chinese-invasion" target="_blank" rel="noopener">growing concerns</a> that the country is not prepared for a war with China.
Some hope it will serve as a wake-up call to the Taiwanese public.
“Presenting such a situation (of conflict) can lead to more discussion about what we should do if it really turns into reality one day,” said Blair Yeh, a 35-year-old engineer, after watching the first episode at the Taipei premier last week.
The show’s 17-minute <a href="https://www.youtube.com/watch?v=iAnZdVG041Y" target="_blank" rel="noopener">preview</a>, which was released last year, depicts a multi-staged hybrid attack by China. It begins when the disappearance of a Chinese plane over Taiwanese waters prompts the People’s Liberation Army to blockade the island.
Stock markets crash, and foreign governments start to evacuate their citizens. Small-scale civil war breaks out as citizens disagree on whether to fight or accede to annexation by China. China pressures jails into releasing criminals and recruits them to serve as a “fifth column.” Utter chaos follows before Chinese troops finally land on the island, formally beginning a war.
Taiwanese producers were long unwilling to tackle the subject, fearing retaliation and boycotts from China. And apprehensions remain: more than half of the show’s crew opted to remain anonymous, and some, including a director, pulled out at the last minute.
Producer Cheng Hsin-mei told the <a href="https://www.wsj.com/world/asia/nightmares-of-a-chinese-invasion-inspire-taboo-breaking-entertainment-in-taiwan-d67764d9?utm_source=chatgpt.com" target="_blank" rel="noopener">Wall Street Journal</a> that she conceived “Zero Day” years ago, but felt the social climate wasn’t right at the time. She says the war in Ukraine pushed her to bring the show to air.
“On the surface, Taiwanese people may not seem to feel the threat, but in reality, that fear exists,” she said of a shift in the public psyche.
The premiere comes as China sends increased signals that it is preparing to attack the island, which it considers its own territory. Defense Secretary Pete Hegseth <a href="https://theweek.com/news/world-news/asia-pacific/954343/what-would-happen-china-attempt-invade-taiwan" target="_blank" rel="noopener">said</a> at the 2025 Shangri-la Dialogue Defense Summit that a Chinese invasion of the island “could be imminent.”
Per the Taiwan Relations Act of 1979, the United States is committed to providing arms for Taiwan to defend itself against possible attacks from China. However, it does not require the United States to use force on Taiwan’s behalf.
Nevertheless, the United States and 19 allied countries are conducting joint <a href="https://www.reuters.com/world/asia-pacific/papering-over-strains-us-allies-prep-taiwan-war-2025-07-25/" target="_blank" rel="noopener">military exercises</a> in the Pacific to build military readiness and to serve as a deterrent for Chinese aggression, in what are “the largest and most sophisticated military drills held in the Pacific since the end of World War Two.”
Speaking at the summit, Hegseth <a href="https://www.bbc.com/news/articles/c071xm4x7g7o" target="_blank" rel="noopener">affirmed</a> that “We do not seek to dominate or strangle China, to encircle or provoke. We do not seek regime change… but we must ensure that China cannot dominate us or our allies and partners.”
“We will not be pushed out of this critical region,” he added.
“Zero Day Attack” will begin streaming for American audiences on Amazon Prime on August 15, the 80th anniversary of Japan’s surrender in World War II.

Taiwan Flags

New Taiwanese Show Imagines A Chinese Invasion

China

Pete Hegseth

Taiwan

Television

President Donald Trump turned a 47-year-old song into a dance craze. Even NFL stars couldn’t resist doing Trump’s “YMCA” dance in their end-zone celebrations.
What a difference one White House term makes.
Trump’s first four years in office found all of Hollywood turned against him, from late-night TV to shows and movies.
Now, pop culture is veering in MAGA’s direction, a moment the Right never expected. And it’s possible thanks to the democratization of the media, from YouTube to podcasting.
It helps that the public’s trust in legacy media outlets, Trump’s entrenched enemy, has never been lower. More people are willing to give the unusual politician a look through a pop culture filter.
Right-leaning artists like Tom MacDonald can crush the iTunes charts without a major label behind him. The rapper’s “<a href="https://www.youtube.com/watch?v=5kGpohEpuTE">Facts</a>,” featuring Daily Wire co-founder Ben Shapiro, crashed the music charts without the press’ help (number one on the Billboard Rap chart). The same happened when MacDonald gave canceled comic Roseanne Barr <a href="https://www.dailywire.com/news/roseanne-barr-drops-daddys-home-rap-video-with-tom-macdonald" target="_blank" rel="noopener">her rap closeup with “Daddy’s Home”</a> a tribute to President 45/47.
<div id="attachment_891745" style="width: 1034px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-891745" class="size-large wp-image-891745" src="https://dw-wp-production.imgix.net/2025/03/MixCollage-14-Mar-2025-10-16-AM-4499-1024x576.jpg" alt="Screenshot: YouTube/Tom MacDonald &quot;Facts&quot; feat. Ben Shapiro" width="1024" height="576" srcset="https://dw-wp-production.imgix.net/2025/03/MixCollage-14-Mar-2025-10-16-AM-4499-1024x576.jpg 1024w, https://dw-wp-production.imgix.net/2025/03/MixCollage-14-Mar-2025-10-16-AM-4499-300x169.jpg 300w, https://dw-wp-production.imgix.net/2025/03/MixCollage-14-Mar-2025-10-16-AM-4499-768x432.jpg 768w, https://dw-wp-production.imgix.net/2025/03/MixCollage-14-Mar-2025-10-16-AM-4499-1536x865.jpg 1536w, https://dw-wp-production.imgix.net/2025/03/MixCollage-14-Mar-2025-10-16-AM-4499-2048x1153.jpg 2048w" sizes=" (max-width: 1024px) 100vw, 1024px" />Screenshot: YouTube/Tom MacDonald &#8220;Facts&#8221; feat. Ben Shapiro</div>
Those aren’t aberrations.
“Justice for All,” credited to Trump himself, <a href="https://www.forbes.com/sites/hughmcintyre/2023/03/21/donald-trump-lands-his-first-no-1-hit-on-a-billboard-chart/" target="_blank" rel="noopener">debuted at no. 1</a> on Billboard’s Digital Song Sales chart in 2023.
Trump has been very good to Fox News’ “Gutfeld!” The late-night showcase routinely outdraws its broadcast competitors, although it airs an hour-plus earlier in the evening. The show’s ratings hit their zenith when Trump appeared on the show’s avuncular panel.
The president’s episode gave host Greg Gutfeld <a href="https://www.adweek.com/tvnewser/donald-trump-gutfeld-ratings-5-million-viewers/" target="_blank" rel="noopener">his highest numbers to date</a> – 4.9 million viewers. Most nights, the show’s willingness to praise Trump’s policies while mocking the Democrats’ responses have kept the show’s ratings strong.
Trump’s own reality series “The Apprentice” made a sudden return to streaming this month. Prime Video is releasing the first seven episodes of the Mark Burnett-produced show, and season one instantly hit the platform’s Top 10 chart.
<div id="attachment_891725" style="width: 894px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-891725" class="size-large wp-image-891725" src="https://dw-wp-production.imgix.net/2025/03/GettyImages-138441695-884x576.jpg" alt="SATURDAY NIGHT LIVE -- Episode 16 -- Air Date 04/03/2004 -- Pictured: (l-r) George Ross, Donald Trump, Carolyn Kepcher during &quot;The Apprentice&quot; skit on April 3, 2004 (Photo by Mary Ellen Matthews/NBCU Photo Bank/NBCUniversal via Getty Images via Getty Images)" width="884" height="576" srcset="https://dw-wp-production.imgix.net/2025/03/GettyImages-138441695-884x576.jpg 884w, https://dw-wp-production.imgix.net/2025/03/GettyImages-138441695-300x195.jpg 300w, https://dw-wp-production.imgix.net/2025/03/GettyImages-138441695-768x500.jpg 768w, https://dw-wp-production.imgix.net/2025/03/GettyImages-138441695.jpg 1024w" sizes=" (max-width: 884px) 100vw, 884px" />Mary Ellen Matthews/NBCU Photo Bank/NBCUniversal via Getty Images via Getty Images</div>
The show played a critical part in Trump’s branding principles while introducing the country to his now-grown children Ivanka, Eric and Donald Trump, Jr. Now, millions want to rewatch that evolution from the beginning. 
The legacy press told Americans that Tony Hinchcliffe’s raw routine at October’s Madison Square Garden Trump rally marked the end of his presidential hopes. We were told that Hinchcliffe’s “racist” joke about Puerto Rico’s garbage problem would ensure GOP Latino voters stayed home.
Journalists covered the story at great length, making it a key media narrative in the days before Nov. 5.
Except Latino voters, by and large, didn’t care.
And what happened to Hinchcliffe? He just snagged a major Netflix deal to bring his signature “Kill Tony” podcast <a href="https://x.com/NetflixIsAJoke/status/1899113010997661879" target="_blank" rel="noopener">to the streaming giant</a>.
<div id="attachment_891771" style="width: 820px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-891771" class="size-large wp-image-891771" src="https://dw-wp-production.imgix.net/2025/03/GettyImages-2180711933-810x576.jpg" alt="US comedian Tony Hinchcliffe speaks during a campaign rally for former US president and Republican presidential candidate Donald Trump at Madison Square Garden in New York on October 27, 2024. (Photo by ANGELA WEISS / AFP) (Photo by ANGELA WEISS/AFP via Getty Images)" width="810" height="576" srcset="https://dw-wp-production.imgix.net/2025/03/GettyImages-2180711933-810x576.jpg 810w, https://dw-wp-production.imgix.net/2025/03/GettyImages-2180711933-300x213.jpg 300w, https://dw-wp-production.imgix.net/2025/03/GettyImages-2180711933-768x546.jpg 768w, https://dw-wp-production.imgix.net/2025/03/GettyImages-2180711933.jpg 1024w" sizes=" (max-width: 810px) 100vw, 810px" />ANGELA WEISS/AFP via Getty Images</div>
The pro-Trump label isn’t foolproof. Dinesh D’Souza’s “Vindicating Trump” earned $1.3 million at the US box office late last year, below most of his previous films. It’s still a solid amount for a documentary – most nonfiction films fail to crack the $1 million mark in theaters.
So what changed? How did pro-Trump content gain so much ground?
Independent media kept maturing after Trump’s first term, outpacing mainstream platforms in many regards. New media artists can create content and do it at a much smaller price point.
And, more importantly, a Right-leaning ecosystem of podcasts, YouTubers, and social media types can now spread the word more effectively. Credit Elon Musk’s X takeover for keeping more conservative voices on the platform.
Meanwhile, legacy outlets continue to shrink both in size and cultural clout. And the downsizing continues as <a href="https://www.newsweek.com/amy-robach-cries-tj-holmes-podcast-abc-layoffs-2042630" target="_blank" rel="noopener">more media layoffs</a> rock the industry.
Anti-Trump art is having a similarly tough time.
While far-Left late-night shows have mostly maintained their audience shares, the same isn’t true at the local movie house.
Last year’s anti-Trump drama “The Apprentice,” released at the peak of election season, seemed primed to draw the anti-MAGA faithful in record numbers. The film’s cartoonish look at an ‘80s era Trump (Sebastian Stan), under the alleged tutelage of fixer Roy Cohn (Jeremy Strong), was catnip to the president’s detractors.
If only they lined up to watch it.
<div id="attachment_891733" style="width: 838px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-891733" class="size-large wp-image-891733" src="https://dw-wp-production.imgix.net/2025/03/GettyImages-2177860859-828x576.jpg" alt="LONDON, ENGLAND - OCTOBER 15: Sebastian Stan attends the Headline Gala screening of &quot;The Apprentice&quot; during the 68th BFI London Film Festival at The Royal Festival Hall on October 15, 2024 in London, England. (Photo by Dave Benett/WireImage)" width="828" height="576" srcset="https://dw-wp-production.imgix.net/2025/03/GettyImages-2177860859-828x576.jpg 828w, https://dw-wp-production.imgix.net/2025/03/GettyImages-2177860859-300x209.jpg 300w, https://dw-wp-production.imgix.net/2025/03/GettyImages-2177860859-768x534.jpg 768w, https://dw-wp-production.imgix.net/2025/03/GettyImages-2177860859.jpg 1024w" sizes=" (max-width: 828px) 100vw, 828px" />Dave Benett/WireImage</div>
The critically hailed film flopped with a $4 million haul stateside. That’s despite endless, fawning media coverage. Few films generated more free press, however, than “The Apprentice.”
More recently, another anti-Trump film is struggling to cover its exorbitant budget. Director Bong Joon-ho says his sci-fi thriller “Mickey 17” <a href="https://ew.com/bong-joon-ho-donald-trump-inspired-mark-ruffalo-mickey-17-villain-11688849" target="_blank" rel="noopener">isn’t a direct attack on Trump</a>. Many disagree, noting co-star Mark Ruffalo’s politician character has Trumpian traits and his followers wear red hats.
Subtle.
The film made $19 million domestically during its opening frame. That’s a solid number for some projects, but not one carrying a $118 million budget. Some suggest the film could cost Warner Bros. <a href="https://www.yahoo.com/entertainment/wb-mickey-17-cut-tested-151954129.html" target="_blank" rel="noopener">$100 million</a> by the end of its theatrical run.
The most surprising moment of Trump 2.0 from a pop culture perspective? The recent Oscars telecast didn’t feature his name, and host Conan O’Brien indirectly referenced the 47th president once, and via a late-in-the-show quip.
All of the above opens up new opportunities for Right-leaning artists. Their voices are harder to ignore, and the tools at their disposal have never been greater.
Two potential red flags to consider.
If President Trump fails to fulfill his pre-election promises the country may have less appetite for MAGA-aligned content. Hollywood progressives may rise up anew, smelling blood in the political waters.
And if creators think a pro-Trump veneer will make audiences swallow sub-par content, think again.
* * *
Christian Toto is an award-winning journalist, movie critic and editor of <a href="https://www.hollywoodintoto.com/" target="_blank" rel="noopener">HollywoodInToto.com</a>. He previously served as associate editor with Breitbart News’ Big Hollywood. Follow him at <a href="https://www.hollywoodintoto.com/" target="_blank" rel="noopener">HollywoodInToto.com</a>.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.

US-POLITICS-CPAC-TRUMP

Riding On Trump’s Pop Culture Coattails

Riding On Trump's Pop Culture Coattails

Conservatives

Donald Trump

Podcast

President Trump

Social Media

The Apprentice

Tom MacDonald

“The Terminal List” author Jack Carr announced that the highly-anticipated prequel to the 2022 Amazon Prime series based off his hit novel is coming to screens in 2025, with Chris Pratt and Taylor Kitsch once again on board.
In a post on Monday on <a href="https://www.facebook.com/photo/?fbid=1218677063158294&amp;set=a.320900792935930">Facebook</a>, Carr recalled how four years ago, filming began on the adaptation of his first book “THE TERMINAL LIST” and how the prequel “The Terminal List: Dark Wolf” is coming out this year.
“Our guiding principle from the beginning was to capture the warrior mindset and make a show that honored the sacrifice of those who put on the uniform and went downrange,” Carr wrote “That continued to be our guiding principle filming THE TERMINAL LIST: DARK WOLF last year overseas.”
“DARK WOLF is a Ben Edwards prequel origin story starring Taylor Kitsch as Ben with Tom Hopper as Raife Hastings, Dar Salim as Mo Farooq, Luke Hemsworth as Jules Landry and Chris Pratt back as James Reece,” he added. “It takes place before the events of THE TERMINAL LIST and is coming to screens in 2025 – announcements should start dropping soon.”
“Capturing that warrior mindset as James Reece embarks on a journey of violent redemption in TRUE BELIEVER (Book Two) remains at the forefront of all we do,” Carr continued, before sharing news that the sequel to “The Terminal List” was in the works! “Filming begins shortly and I can tell you &#8211; the scripts are EPIC! Now it is time to bring those pages to life!”
A little over a year ago, <a href="https://www.dailywire.com/news/you-aint-ready-chris-pratt-teases-next-installment-in-the-terminal-list">Pratt</a> made headlines when he dropped news that production would soon get underway for the prequel to the series, sharing the title with a poster that read, “The Terminal List: Dark Wolf.”
“From the Producers of [TheTerminalList] and NYT Bestselling author [Jackcarrusa]–introducing THE TERMINAL LIST: DARK WOLF, a prequel series featuring Ben Edwards and James Reece,” the post read. “Production begins early this year.”
<a href="https://deadline.com/2023/02/chris-pratt-the-terminal-season-2-prequel-s-taylor-kitsch-prime-video-1235246705/">Deadline</a> previously reported that it had learned that Amazon had indeed finalized a second season of the hit series and a prequel, though no other details were available.
The eight-episode first season was a huge hit for Amazon, scoring the No. 2 spot on Nielsen’s weekly Top 10 streaming ratings chart. 
It centered around former Navy SEAL officer Reece, who “investigates why his entire platoon was ambushed during a high-stakes covert mission,” a description on <a href="https://www.imdb.com/title/tt11743610/?ref_=fn_al_tt_1">IMDb</a> read.
The Carr series was a massive hit with audiences, despite critics trying to slam it as “anti-woke” and more, as previously <a href="https://www.dailywire.com/news/critics-media-trash-chris-pratts-anti-woke-terminal-list-audiences-love-it">reported</a>.

“The Terminal List” Los Angeles Premiere – Arrivals

‘The Terminal List’ Author Provides Update On Highly-Anticipated Prequel With Chris Pratt

Chris Pratt

In a major turnaround, &#8220;<a href="https://www.amazon.com/War-Children-Robby-Starbuck/dp/B0DTSGWVCH/ref=sr_1_1?crid=4J0R2B9F5WHE&amp;dib=eyJ2IjoiMSJ9.a5LZAH2ip82WZpW1--t2iidf2MZQOMw_TXlbJuZEplNLuXyhvYy7URzTcWqv2LQ67x5RDWNdwtHXJeWEoKk8ZcnfpJ_potUdgON9EoK5NavU2UQbjEftGFnYNYb7LEI9m4vS5rLz-wVYq8wu3ejU8y7Nloi4FKrFedUrHpLRIRR7l_a6eiU_UqlXunrhD9J7_bHzHdaqvZpLGir0-l5m2bKafjhcm_fLoBWs59P6Ky0.e2pta6rm_XMQoiqF2T8OCaXBgtudSBWu-LGskYdFqIw&amp;dib_tag=se&amp;keywords=The+War+On+Children&amp;qid=1738613878&amp;s=instant-video&amp;sprefix=the+war+on+children%2Cinstant-video%2C134&amp;sr=1-1" target="_blank" rel="noopener">The War on Children</a>,&#8221; a documentary exposing far-left activists&#8217; efforts to indoctrinate and sexualize children, is finally being platformed on Amazon&#8217;s Prime Video.
Robby Starbuck, activist and director of the film, announced on Monday that &#8220;The War on Children&#8221; is now available on Prime Video, following a year of effective censorship by Big Tech platforms.
&#8220;Huge news and a favor to ask so we wake up more people: One year ago today, every Big Tech company banned &#8216;The War On Children,'&#8221; Starbuck posted to X. &#8220;Amazon banned it because the Left feared it. Today, exactly 1 year since the release, [Prime Video] just unbanned our film.&#8221;
&#8220;If we can get it into the top films there, think of how many normal people will be woken up to the war that the Left has waged on our kids,&#8221; Starbuck continued. &#8220;Getting into the top movie recommendations would also have the added bonus of driving the Left insane. They’re already going to lose it that Amazon is carrying the film.&#8221;
The Daily Wire has reached out to Amazon about the sudden turnaround.
Starbuck asked his followers to support &#8220;The War on Children&#8221; and promised that any profits would be rolled &#8220;right into our next film, which is going to be incredible.&#8221;
A description of the film on Prime Video reads, &#8220;Far left activists will stop at nothing to indoctrinate them, sexualize them, guilt them and punish them until they submit to their woke religion. For too long the dots haven&#8217;t been connected to expose their battle plan. This film exposes EVERYTHING.&#8221;
<blockquote class="twitter-tweet">
Huge news and a favor to ask so we wake up more people: One year ago today, every Big Tech co banned &#8220;The War On Children&#8221;.
Amazon banned it because the left feared it.
Today, exactly 1 year since the release, <a href="https://twitter.com/PrimeVideo?ref_src=twsrc%5Etfw">@PrimeVideo</a> just unbanned our film. If we can get it into the top… <a href="https://t.co/zjNupYJ8wa">pic.twitter.com/zjNupYJ8wa</a>
— Robby Starbuck (@robbystarbuck) <a href="https://twitter.com/robbystarbuck/status/1886449838511816816?ref_src=twsrc%5Etfw">February 3, 2025</a></blockquote>
Notably, Big Tech CEOs, including Amazon&#8217;s Jeff Bezos, have warmed to President Donald Trump since his 2024 election win. Bezos <a href="https://www.cbsnews.com/news/trump-tech-ceos-meta-amazon-donate-millions-inauguration/" target="_blank" rel="noopener">donated</a> $1 million toward Trump&#8217;s inauguration and even attended the swearing-in.
A similar shift has occurred with Meta founder Mark Zuckerberg, who famously <a href="https://www.bbc.com/news/articles/c87x98q8y08o">dined</a> with Trump at Mar-a-Lago just days after the election. He, too, <a href="https://www.commoncause.org/articles/big-tech-is-donating-millions-to-trumps-inauguration/">donated</a> $1 million for Trump’s inauguration and attended the event. 
While Amazon is now platforming &#8220;The War on Children,&#8221; it&#8217;s also noteworthy that Zuckerberg has claimed to have turned a page on the days of censorship, insisting that he supports free speech. The Facebook founder recently said he’s replacing biased third-party fact checkers with a Community Notes-style system, and <a href="https://www.dailywire.com/news/zuckerberg-says-meta-restoring-free-speech-will-get-rid-of-fact-checkers">posted</a> a video earlier this month emphasizing this commitment to free speech. 
 “We’ve reached a point where it&#8217;s just too many mistakes and too much censorship,&#8221; Zuckerberg said in a <a href="https://www.instagram.com/zuck/reel/DEhf2uTJUs0/" target="_blank" rel="noopener">video</a> posted online. &#8220;The recent elections also feel like a cultural tipping point toward once again prioritizing speech. So, we’re gonna get back to our roots and focus on reducing mistakes, simplifying our policies, and restoring free expression on our platforms.”

Kid with trans flag

Culture Shift: ‘The War On Children’ Doc Was Banned By Big Tech. Now Amazon Is Platforming It.

Big Tech

Robby Starbuck

Menu