A recent article in The New York Times puzzles over the bad news at the Hollywood box office. An occasional hit like “Wicked: For the Good” may keep the industry afloat, but for the most part, no one’s going to the theater.
“25 Movies, Many Stars, 0 Hits: Hollywood Falls to New Lows,” says the Times <a href="https://www.nytimes.com/2025/11/14/business/media/box-office-collapse-hollywood.html?searchResultPosition=6">headline</a>. And the subhead: “It has been a brutal three months for dramas and comedies.”
The article goes on to blame the pandemic, the internet, streaming, and so on. My witty friend Stephen Green over at PJMedia made a better <a href="https://pjmedia.com/vodkapundit/2025/11/17/dear-hollywood-have-you-tried-not-sucking-n4946090">suggestion</a>: “Dear Hollywood. Have you tried not sucking?”
Stephen’s right, of course. But The New York Times can’t see the problem, because The New York Times embodies the problem.
An example.
Another friend of mine, the very talented rebel writer-director Cyrus Nowrasteh, recently directed the film “Sarah’s Oil,” which he co-wrote with his also talented wife, Betsy. Based on a true story, the film tells the tale of a black girl in Jim Crow Oklahoma fighting against bigotry to find and keep the oil on her land. The picture is well-made, touching, and inspiring.
Given a smallish release, the film surprised the industry by doing excellent business. It has an 83% fresh rating from critics on Rotten Tomatoes, and a stunning 98% rating from actual human beings.
But here’s an excerpt from one of its few bad reviews in — you guessed it — the New York Times. Natalia Winkelman writes:
<blockquote>Sarah’s Oil is a movie that will surprise nobody. Viewers might even make out a regressive strain reinforcing the feel-good mood: Let alone the incidental worship of fossil fuel… the movie’s emotional core is a Black girl’s belief in her white protector.</blockquote>
Horrors!
Could there be a more small-minded, small-souled reaction to a poignant story of a child’s triumph over prejudice? Miss Winkelman could just as easily have written: “No opinions allowed in the arts but my opinions! No ideas but those approved by the cultural establishment!”
<a href="https://thenewjerusalem.substack.com/"><img loading="lazy" decoding="async" class="size-large wp-image-1010467 aligncenter" src="https://dw-wp-production.imgix.net/2025/12/New-Jerusalem-slug-1024x191.jpg" alt="" width="1024" height="191" srcset="https://dw-wp-production.imgix.net/2025/12/New-Jerusalem-slug-1024x191.jpg 1024w, https://dw-wp-production.imgix.net/2025/12/New-Jerusalem-slug-300x56.jpg 300w, https://dw-wp-production.imgix.net/2025/12/New-Jerusalem-slug-768x143.jpg 768w, https://dw-wp-production.imgix.net/2025/12/New-Jerusalem-slug.jpg 1100w" sizes=" (max-width: 1024px) 100vw, 1024px" /></a>
But those ideas are not just anti-art, they’re anti-human. No women who act like feminine women. No men who act like manly men. No stories that explore themes of freedom, individualism, traditional marriage, motherhood, fatherhood or faith.
As a result, you get films like “Nosferatu,” a gorgeous and talented remake that falls apart because it can’t include the God who makes vampire stories make sense; “Frankenstein,” a gorgeous and talented remake that falls apart because it can’t stick to Mary Shelley’s superior plot and its theme of rebellion against God and womanhood; “Running Man,” a gorgeous and talented remake that falls apart because it can’t point to what’s ailing society because imagine what Miss Winkelman would say about that!
No new stories. Just good old stories ruined by bad new ideas. The human spirit yearns to hear tales of freedom and male-female love and faith. The querulous clerisy only wants to wallow in their own dyspeptic imaginations.
You want good movies? Break these losers’ monopoly on the arts.
* * *
This article was originally posted on “<a href="https://thenewjerusalem.substack.com/?utm_source=substack&amp;utm_medium=email" target="_blank" rel="noopener">The New Jerusalem</a>” on Substack.
Andrew Klavan is the host of “The Andrew Klavan Show” at The Daily Wire. Klavan is the bestselling author of numerous books, including the Cameron Winter Mystery series. The fifth installment, <a href="https://www.amazon.com/After-That-Cameron-Winter-Mysteries/dp/1613166869/ref=sr_1_1?crid=3EGZUC370LG46&amp;dib=eyJ2IjoiMSJ9.Y_NI0mDOKeowShheDQTVx5NH-fAeimJoCD56_T0Acpl8C0mup7uJf-nGGSRLEItaaekoDnvS2vWLMa4Zd2UBXQ8Y-g-P502jOWz-Y8IX3ZQsdlO7WMLrg1xIhNoKmjCorSWUR4C2l_RbiZ7apJ1MfPzGOrrEf7AdAXX6xwnJRVP_XqUfWuMuVthTWscaU3P4vgmS86-96n-721enHfX12CFQWTajqFbVnrsDkexfUf4.6_gTH6h1Bb9Pn375QdF_VAVZSayDvjQBBKGXE-MTiFo&amp;dib_tag=se&amp;keywords=klavan&amp;qid=1754049918&amp;sprefix=%2Caps%2C80&amp;sr=8-1" target="_blank" rel="noopener">After That, The Dark,</a> is NOW AVAILABLE. Follow him on X: <a href="https://x.com/andrewklavan" target="_blank" rel="noopener">@andrewklavan</a>
The views expressed in this satirical piece are those of the author and do not necessarily represent those of The Daily Wire.
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Hollywood

Why Hollywood Sucks

Andrew Klavan

Box Office

Entertainment

Film Reviews

Movies

The New York Times

2025 Atlantic Festival

Exposing Every Lie In The New Anti-American Documentary From Ken Burns

American History

American Revolution

Diversity

Diversity Equity and Inclusion (DEI)

Documentaries

Film

Founding Fathers

George Washington

Matt Walsh

Opinion

Slavery

Woke Culture

With this summer’s blockbuster season ranking as the least attended since 1981 and the October box office notching its lowest monthly total ever, Hollywood is in desperate need of a magic wand to save the industry from its slump. Right now, all eyes are turning to Oz as analysts predict that Wicked: For Good will reverse the trend and become the highest grossing of film of 2025.
That’s going to be a heavy lift, since the film&#8217;s two leads seem determined to do everything they can to alienate half the country. During the press tour for the first Wicked film, Ariana Grande (Glinda the Good Witch) and Cynthia Erivo (Elphaba, the Wicked Witch of the West) not only appeared startlingly emaciated, but gave bizarre, politically-charged interviews sure to turn off anyone to the right of the Southern Poverty Law Center.
Erivo obnoxiously <a href="https://www.dailywire.com/news/wicked-actress-flips-over-movie-poster-edited-by-fans-calls-it-most-offensive-thing" target="_blank" rel="noopener">decried innocent fan art</a> that redesigned the movie poster to look more like the Broadway Playbill, complaining that it “degrade[d]” and “erased” her. Then, in response to a reporter’s question about the stage production, she <a href="https://www.out.com/out100/2024/artists/cynthia-erivo" target="_blank" rel="noopener">described it</a> as part of “queer canon,” a sentiment Grande <a href="https://x.com/JDunlap1974/status/1988346601891373471?s=20" target="_blank" rel="noopener">echoed</a>.
“Oz has always been a queer place, a safe place for queer people for every different color of the rainbow,&#8221; Grande said. &#8220;The gayer the better.”
And yet, despite their red-carpet politicking, Wicked has always been a conservative fable. Yes, that’s correct: Wicked is thematically right-wing. Whether or not the creative team recognizes it, the narrative is built around skepticism of centralized power, distrust of media manipulation, and a fierce defense of objective truth.
The Wizard (Jeff Goldblum) is a foreign invader who arrives in Oz and consolidates control over its disparate regions through deceptive displays of strength, embodying the archetype of the globalist technocrat. He leverages a compliant, dishonest press to create false narratives that will reshape public opinion so he can impose top-down authority over communities that once enjoyed self-rule. His regime suppresses dissent, persecutes politically disfavored classes (in this case, the sentient Animals), and relies on the notion that “truth is what we agree upon,” a relativism that Elphaba vigorously rejects. She, by contrast, argues that truth and morality are unchanging, regardless of whether anyone else agrees.
Elphaba’s story arc is not, as we have seen with other villain rehabilitations like 2014’s Maleficent, an attempt to excuse evil by blaming painful formative experiences. Instead, the official Oz account was fake news all along, the cover circulated by a corrupt government — aided and abetted by a complicit media — to deflect attention away from Elphaba’s crusade to restore individual rights. She is targeted precisely because she stands between the establishment and the ordinary citizen. Elphaba is not redeemed — she is vindicated.
Unfortunately, conservative is not the same as entertaining. There, unfortunately, Wicked: For Good (rated PG for action violence and a slightly suggestive romantic scene) fails to live up to its title.
The first film largely followed the path of the stage production. So, even though Erivo and Grande’s performances didn’t come near to matching the energy and wit that Idina Menzel and Kristin Chenoweth brought to Broadway, powerhouse ballads like &#8220;Defying Gravity&#8221; (so good Disney ripped it off for Frozen) and comical ditties like &#8220;Popular&#8221; and &#8220;What Is This Feeling?&#8221; still managed to entertain. And the pageantry of scenes like Elphaba and Glinda’s arrival to the Emerald City was visually arresting enough to hold attention through the long 2-hour-and-40-minute run time.
<iframe loading="lazy" title="YouTube video player" src="https://www.youtube.com/embed/9yZLmULgLQk?si=O6pmHqD670_gNknX" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
Wicked: For Good is 20 minutes shorter but feels about an hour longer. The plot is padded to fill out a sequel that could have been wrapped up in 30 minutes. The new songs from Wicked composer Stephen Schwartz boast none of the sly humor or subtle poetry of the originals, and the few original songs remaining to this second half of the story are performed with little apparent recognition of their meaning.
A prime example is Glinda’s “Thank Goodness.” On stage, Chenoweth turns the song into a miniature nervous breakdown, in which the audience can hear the exact moment she rejects self-awareness and doubles down on delusion. Grande sails through the same lyrics with a pretty smile and zero outward acknowledgment of the subtext in expression or voice. MacGuffins also abound. Something that is initially presented as a dire plot point, like what will become of those bejeweled shoes, is later shrugged off as unimportant.
Just like the ruby slippers, Wicked: For Good is still a candy-colored spectacle and a handful of sequences are impressive, but the substance is as ephemeral and weightless as that bubble Glinda travels around in.
By the time you get to the end, you’re simply ready for it to pop.
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Untitled design (72)

Wicked 2 Is More Conservative Than Its Stars Admit. That Doesn’t Make It Good.

Ariana Grande

Wicked

When Hollywood sends a message, chances are it’s from the Left. Or, in the case of Leonardo DiCaprio’s open borders screed “One Battle After Another,” the far, far Left.
The same applies to horror movies.
We’ve seen a wave of “socially conscious” horror in recent years, often with depressing results. Think the 2021 “Candyman” reboot, 2020’s “Antebellum,” and 2022’s “They/Them.” 
Horror has always let storytellers send a message or two between the scares, often doing so without exclamation points. And, given the industry’s leanings, that rarely aligns with conservative world views.
That doesn’t mean the films in question aren’t worth watching. Some message-minded movies remain essential Halloween fare. A few have themes that aren’t as neatly progressive as one expects.
And, as faith-based movies continue to improve and expand their focus, we’re seeing thrillers that touch on heartland values. Really.
<h2>“Nefarious” (2023)</h2>
<div id="attachment_992777" style="width: 380px" class="wp-caption alignnone"><a href="https://www.dailywire.com/videos/nefarious?row=0&amp;elementPosition=3&amp;rowType=Square+Show+Carousel"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-992777" class="size-large wp-image-992777" src="https://dw-wp-production.imgix.net/2025/10/Nefarious-film-370x576.jpg" alt="Soli Deo Gloria Releasing. Believe Entertainment." width="370" height="576" srcset="https://dw-wp-production.imgix.net/2025/10/Nefarious-film-370x576.jpg 370w, https://dw-wp-production.imgix.net/2025/10/Nefarious-film-193x300.jpg 193w, https://dw-wp-production.imgix.net/2025/10/Nefarious-film-768x1194.jpg 768w, https://dw-wp-production.imgix.net/2025/10/Nefarious-film-988x1536.jpg 988w, https://dw-wp-production.imgix.net/2025/10/Nefarious-film.jpg 1317w" sizes=" (max-width: 370px) 100vw, 370px" /></a>Soli Deo Gloria Releasing. Believe Entertainment.</div>
This spicy two-hander follows a psychiatrist (Jordan Belfie) trying to gauge a death-row inmate’s state of mind. Sean Patrick Flanery chews up the scenery in the very best ways as a prisoner who claims he didn’t commit the crimes in question.
The Devil made him do it. Literally.
“Nefarious” is <a href="https://www.dailywire.com/videos/nefarious?row=0&amp;elementPosition=3&amp;rowType=Square+Show+Carousel">now streaming on The Daily Wire</a>.
Based on the book “A Nefarious Plot,” by Steve Deace and backed by Glenn Beck, this indie Christian film eschews blood and gore tactics for spiritual scares. This smart, faith-based shocker shows the power of performance and dialogue over FX. 
Produced by Soli Deo Gloria and Believe Entertainment, this is a Heartland friendly film, but still not suitable for younger audiences.
<h2>“The Hunt” (2020)</h2>
<div id="attachment_992787" style="width: 374px" class="wp-caption alignnone"><a href="https://www.imdb.com/title/tt8244784/"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-992787" class="size-large wp-image-992787" src="https://dw-wp-production.imgix.net/2025/10/The-Hunt-movie-364x576.jpg" alt="Blumhouse Productions.Universal Pictures. " width="364" height="576" srcset="https://dw-wp-production.imgix.net/2025/10/The-Hunt-movie-364x576.jpg 364w, https://dw-wp-production.imgix.net/2025/10/The-Hunt-movie-189x300.jpg 189w, https://dw-wp-production.imgix.net/2025/10/The-Hunt-movie-768x1216.jpg 768w, https://dw-wp-production.imgix.net/2025/10/The-Hunt-movie-970x1536.jpg 970w, https://dw-wp-production.imgix.net/2025/10/The-Hunt-movie.jpg 1293w" sizes=" (max-width: 364px) 100vw, 364px" /></a>Blumhouse Productions. Universal Pictures.</div>
It’s the ultimate Culture War movie, but one where the shouting barely reflects what’s seen on screen. A group of privileged liberals kidnap and hunt conservatives for sport. Sound awful? It is, no doubt, and it&#8217;s remarkably bloody.
Enter Betty Gilpin as Crystal, a feisty Republican who leads a rebellion after being kidnapped by the Hunt’s handlers. She’s the ultimate Final Girl, a resourceful gal who can’t help but gain the audience’s admiration.
The third act turns silly, but its political message is surprisingly balanced. Let’s lower the temperature on the cultural conversation before it’s too late. Just five years after its controversial release, it seems we need that lesson even more. And, chances are, today’s media would likely skewer the film for that reason.
<h2>“Get Out” (2017)</h2>
<div id="attachment_992789" style="width: 399px" class="wp-caption alignnone"><a href="https://www.imdb.com/title/tt5052448/?ref_=fn_all_ttl_1"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-992789" class="size-large wp-image-992789" src="https://dw-wp-production.imgix.net/2025/10/Get-Out-movie-389x576.jpg" alt="Monkeypaw Productions. Blumhouse Productions. Universal Pictures." width="389" height="576" srcset="https://dw-wp-production.imgix.net/2025/10/Get-Out-movie-389x576.jpg 389w, https://dw-wp-production.imgix.net/2025/10/Get-Out-movie-203x300.jpg 203w, https://dw-wp-production.imgix.net/2025/10/Get-Out-movie-768x1137.jpg 768w, https://dw-wp-production.imgix.net/2025/10/Get-Out-movie-1037x1536.jpg 1037w, https://dw-wp-production.imgix.net/2025/10/Get-Out-movie.jpg 1383w" sizes=" (max-width: 389px) 100vw, 389px" /></a>Monkeypaw Productions. Blumhouse Productions. Universal Pictures.</div>
Jordan Peele went from half of a goofy Comedy Central pairing to horror auteur with this gem. An interracial couple (Daniel Kaluuya and Allison Williams) pays her family a visit, hoping to avoid any awkward exchanges. They get just the opposite as the clan endlessly kisses up to Kaluuya’s character.
“I would have voted for Obama for a third term if I could,” brags Bradley Whitford, cast as the young man’s potential father-in-law. Then, slowly, we realize how this progressive family is using black people for nefarious purposes.
The themes are unabashedly progressive, with whites exploiting blacks anew. Peele’s craftsmanship and affinity for horror shine through from the opening sequence. It’s as good as advertised.
The biggest surprise? The film’s ending sets up a tired, evil white cop trope that never happens. Shocking. Truly.
<h2>“Night Of The Living Dead” (1968)</h2>
<div id="attachment_992803" style="width: 385px" class="wp-caption alignnone"><a href="https://www.imdb.com/title/tt0063350/?ref_=fn_all_ttl_1"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-992803" class="size-full wp-image-992803" src="https://dw-wp-production.imgix.net/2025/10/nld-film.jpg" alt="Image Ten Productions. Continental Distributing." width="375" height="500" srcset="https://dw-wp-production.imgix.net/2025/10/nld-film.jpg 375w, https://dw-wp-production.imgix.net/2025/10/nld-film-225x300.jpg 225w" sizes=" (max-width: 375px) 100vw, 375px" /></a>Image Ten Productions. Continental Distributing.</div>
Director George A. Romero’s zombie classic still has bite, but casting a black actor as its heroic lead (Duane Jones) proved shocking in the turbulent ‘60s. That wasn’t the only reason Jones’ performance left a mark.
The film caps with a group of white hunters, disposing of random zombies stalking the land, accidentally shoot Jones’ character in the head. Romero never hid his progressive bona fides, but he suggested in interviews that the ending’s racial connection was unintentional.
Subconscious or not, the film’s cultural potency is undeniable. So is its fright factor. The black and white original, shot on a tiny budget with no recognizable stars, remains an essential watch each October.
<h2>“Dawn Of The Dead” (1978) </h2>
<div id="attachment_992805" style="width: 380px" class="wp-caption alignnone"><a href="https://www.imdb.com/title/tt0077402/?ref_=fn_all_ttl_2"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-992805" class="size-large wp-image-992805" src="https://dw-wp-production.imgix.net/2025/10/Dawn-of-the-dead-film-370x576.jpg" alt="Laurel Group Productions. Dawn Associates. United Film Distribution Company." width="370" height="576" srcset="https://dw-wp-production.imgix.net/2025/10/Dawn-of-the-dead-film-370x576.jpg 370w, https://dw-wp-production.imgix.net/2025/10/Dawn-of-the-dead-film-193x300.jpg 193w, https://dw-wp-production.imgix.net/2025/10/Dawn-of-the-dead-film.jpg 478w" sizes=" (max-width: 370px) 100vw, 370px" /></a>Laurel Group Productions. Dawn Associates. United Film Distribution Company.</div>
Romero, again, uses zombies for more than just brain-munching kills. This time, the undead have swarmed a Pittsburgh-area mall, forcing a small band of humans to scramble for safety.
The horror guru’s visual masterstroke – stumbling, shuffling zombies roaming through an all-American mall, just as they did in their living years. The commentary on consumerism couldn’t be missed this time around, and it didn’t take a lecture or signpost to share it. He said as much <a href="https://www.vice.com/en/article/how-george-romeros-progressive-politics-gave-way-to-the-walking-deads-nihilism/">via a 2010 interview</a>:
<blockquote>“If there’s something I’d like to criticize, I can bring the zombies out … I get the financing that way. So I’ve been able to express my political views through those films.” </blockquote>
<h2>“Invasion Of The Body Snatchers” (1956), (1978)</h2>
<div id="attachment_992817" style="width: 381px" class="wp-caption alignnone"><a href="https://www.imdb.com/title/tt0077745/?ref_=nv_sr_srsg_1_tt_6_nm_1_in_0_q_Invasion%2520of%2520the%2520body%2520"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-992817" class="size-large wp-image-992817" src="https://dw-wp-production.imgix.net/2025/10/Invasion-film-371x576.jpg" alt="SoloFilm Productions. United Artists." width="371" height="576" srcset="https://dw-wp-production.imgix.net/2025/10/Invasion-film-371x576.jpg 371w, https://dw-wp-production.imgix.net/2025/10/Invasion-film-193x300.jpg 193w, https://dw-wp-production.imgix.net/2025/10/Invasion-film-768x1193.jpg 768w, https://dw-wp-production.imgix.net/2025/10/Invasion-film.jpg 800w" sizes=" (max-width: 371px) 100vw, 371px" /></a>SoloFilm Productions. United Artists.</div>
The 1956 original introduced us to “pod people,” replicated humans who looked like our friends and neighbors but without their humor, personality and heart. And they spread so fast across the culture. Social commentators connected the film to the McCarthy-era anxiety infecting the country at the time. They’re all around us! Beware! You could be one, too!
Others suggested the pod people captured the Communist ethos – worker drones who cast humanity aside for the betterment of The State. Some of the best movies allow for any number of interpretations. Either way, the film endures as a horror classic.
The 1978 remake is even better – chilling, creepy, and capped by an ending that’s both bleak and perfect. Once again, the story spoke to the paranoia of the times – post-Watergate, post-Vietnam – but could address big city fears and other societal ills.
* * *
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.

Man silhouette against background of night foggy city

Scary For The Right Reasons. Six Political Horror Movies.

Glenn Beck

Horror

Horror Movies

Politics

In 2017, “Saturday Night Live” uncorked a riotous “‘Woke Jeans’ commercial” tied to the growing woke movement.
The clip proved an exception to the mainstream comedy rule. Woke was more or less off limits to “SNL,” Late-Night hosts, and film comedies, despite a dearth of material.
Insane cultural rules. Virtue-signaling politicians. Identity Politics gone wild. The comic possibilities seemed endless.
<iframe loading="lazy" title="Levi&#039;s Wokes - SNL" width="500" height="281" src="https://www.youtube.com/embed/adPXDTvADD0?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>
&nbsp;
Nothing to laugh about here. Move along. Only Comedy Central’s “South Park” regularly targeted the cultural scourge via PC Principal, trans athletes in women’s sports, and related gags.
Now, things are changing. It’s suddenly acceptable to mock the progressive overreach.
The new movie “Eddington” takes direct aim at woke, along with COVID-19 restrictions, conspiracy theorists and BLM sloganeering.
Director Ari Aster’s film isn’t one-sided or brimming with lectures. It takes us back to May 2020, a time when the George Floyd riots were raging across America and government rules made citizens mask up to stop the virus’ spread.
<div id="attachment_955565" style="width: 1034px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-955565" class="wp-image-955565 size-large" src="https://dw-wp-production.imgix.net/2025/08/MixCollage-01-Aug-2025-11-14-AM-5738-1024x576.jpg" alt="Joaquin Phoenix and Pedro Pascal in “Eddington” (2025) A24. Square Peg Productions. 828 Productions. IMDB." width="1024" height="576" srcset="https://dw-wp-production.imgix.net/2025/08/MixCollage-01-Aug-2025-11-14-AM-5738-1024x576.jpg 1024w, https://dw-wp-production.imgix.net/2025/08/MixCollage-01-Aug-2025-11-14-AM-5738-300x169.jpg 300w, https://dw-wp-production.imgix.net/2025/08/MixCollage-01-Aug-2025-11-14-AM-5738-768x432.jpg 768w, https://dw-wp-production.imgix.net/2025/08/MixCollage-01-Aug-2025-11-14-AM-5738-1536x864.jpg 1536w, https://dw-wp-production.imgix.net/2025/08/MixCollage-01-Aug-2025-11-14-AM-5738-2048x1152.jpg 2048w" sizes=" (max-width: 1024px) 100vw, 1024px" />Joaquin Phoenix and Pedro Pascal in “Eddington” (2025) A24. Square Peg Productions. 828 Productions. IMDB.</div>
The story unfolds in a fictional small town in New Mexico, one about to be rocked by dueling social contagions.
It’s uncomfortable to watch and often hilarious, mocking both Alex Jones types and white teens desperate to be woke. The latter ape the progressive talking points of their big-city peers, desperate to fit in and appear cool.
Heck, one newly woke teen just wants to “get” with a pretty girl, and he’ll virtue all the signals he can to make that happen.
The film’s biggest laugh? A white teen explains his “privilege” to his parents, and his father snaps back at him.
“Are you a f***ing retard? You’re white.”
Aster’s films aren’t blockbusters, but his arthouse musings represent mainstream artistic values. And, yes, he went there. So much so that a New York Times <a href="https://x.com/matthewschmitz/status/1947120245329576009">film critic</a> literally <a href="https://www.hollywoodintoto.com/ny-times-eddington-director-mocking-blm/">cursed him out</a> for inserting those gags in his film.
<blockquote>“F*** you, Ari Aster. Really, seriously. It’s so easy to mock these things. People are still dying from COVID. We may no longer be living in a pandemic… I just don’t find it funny, and I find it really important for people to, I think white people should interrogate their f***Ing whiteness, and I think Ari Aster should start.”</blockquote>
Triggered.
<div id="attachment_955653" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-955653" class="size-large wp-image-955653" src="https://dw-wp-production.imgix.net/2025/08/GettyImages-2215538204-864x576.jpg" alt="CANNES, FRANCE - MAY 17: (L-R) Emma Stone, Pedro Pascal, Ari Aster, Joaquin Phoenix and Austin Butler pose during the &quot;Eddington&quot; photocall at the 78th annual Cannes Film Festival at Palais des Festivals on May 17, 2025 in Cannes, France. (Photo by Andreas Rentz/Getty Images)" width="864" height="576" srcset="https://dw-wp-production.imgix.net/2025/08/GettyImages-2215538204-864x576.jpg 864w, https://dw-wp-production.imgix.net/2025/08/GettyImages-2215538204-300x200.jpg 300w, https://dw-wp-production.imgix.net/2025/08/GettyImages-2215538204-768x512.jpg 768w, https://dw-wp-production.imgix.net/2025/08/GettyImages-2215538204.jpg 1024w" sizes=" (max-width: 864px) 100vw, 864px" />Andreas Rentz/Getty Images</div>
The recent horror-comedy “Ick” from provocateur Joseph Kahn also tees-off on woke overreach. The story follows another small town where calamity strikes. This time, the danger comes from a mysterious plant-like substance that goes from benign to deadly.
The menace allows Kahn to satirize American culture, conspiracy mongers (again) and that woke mind virus. Virtue signaling takes it on the chin, as do students talking like an unproduced Lena Dunham sitcom.
It’s far from flattering.
Those eager for a deeper dive into woke excess can read “The Sandersons Fail Manhattan.&#8221; Author Scott Johnston’s biting satire follows a rich New York family caught up in the city&#8217;s progressive mania. A fancy prep school is desperate to recruit its first trans student, while the story&#8217;s patriarch must learn if his colleague is gay enough to satisfy key DEI requirements.
<div id="attachment_955657" style="width: 394px" class="wp-caption aligncenter"><a href="https://www.amazon.com/Sandersons-Fail-Manhattan-Novel/dp/1250384788"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-955657" class="size-large wp-image-955657" src="https://dw-wp-production.imgix.net/2025/08/MixCollage-01-Aug-2025-12-42-PM-5680-384x576.jpg" alt="Cover Credit: St. Martin's Press" width="384" height="576" srcset="https://dw-wp-production.imgix.net/2025/08/MixCollage-01-Aug-2025-12-42-PM-5680-384x576.jpg 384w, https://dw-wp-production.imgix.net/2025/08/MixCollage-01-Aug-2025-12-42-PM-5680-200x300.jpg 200w, https://dw-wp-production.imgix.net/2025/08/MixCollage-01-Aug-2025-12-42-PM-5680-768x1152.jpg 768w, https://dw-wp-production.imgix.net/2025/08/MixCollage-01-Aug-2025-12-42-PM-5680-1024x1536.jpg 1024w, https://dw-wp-production.imgix.net/2025/08/MixCollage-01-Aug-2025-12-42-PM-5680-1365x2048.jpg 1365w, https://dw-wp-production.imgix.net/2025/08/MixCollage-01-Aug-2025-12-42-PM-5680-1360x2040.jpg 1360w, https://dw-wp-production.imgix.net/2025/08/MixCollage-01-Aug-2025-12-42-PM-5680-scaled.jpg 1707w" sizes=" (max-width: 384px) 100vw, 384px" /></a>Cover Credit: St. Martin&#8217;s Press</div>
While “Eddington” and “Ick” take shots at woke, “Manhattan” is a full-on assault against Identity Politics and its cultural tendrils. No apologies.
Even comedians can shred woke pieties from major platforms without fear of reprisal and tell jokes that the woke mob deemed off limits.
Last year, the comedy roast format roared back to life with Netflix’s “tribute” to NFL great Tom Brady.
More recently, stand-up comic Shane Gillis proved that anew. Gillis, starring in Netflix’s rowdy comedy “Tires,” is a walking, talking testament to woke’s cultural decline. The comedian got hired, and promptly fired, by “SNL” for crude comments tied to Asian culture. Rather than fade into obscurity, Gillis went back to work, rebuilding his career.
His star rose so high that “SNL” invited him to host the program – twice – without censoring his rebellious streak.
<div id="attachment_955665" style="width: 835px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-955665" class="size-large wp-image-955665" src="https://dw-wp-production.imgix.net/2025/08/GettyImages-2225471382-825x576.jpg" alt="HOLLYWOOD, CALIFORNIA - JULY 16: Shane Gillis speaks onstage during the 2025 ESPY Awards at Dolby Theatre on July 16, 2025 in Hollywood, California. (Photo by Kevin Winter/Getty Images)" width="825" height="576" srcset="https://dw-wp-production.imgix.net/2025/08/GettyImages-2225471382-825x576.jpg 825w, https://dw-wp-production.imgix.net/2025/08/GettyImages-2225471382-300x209.jpg 300w, https://dw-wp-production.imgix.net/2025/08/GettyImages-2225471382-768x536.jpg 768w, https://dw-wp-production.imgix.net/2025/08/GettyImages-2225471382.jpg 1024w" sizes=" (max-width: 825px) 100vw, 825px" />Kevin Winter/Getty Images</div>
More recently, he emceed the <a href="https://www.dailywire.com/news/shane-gillis-destroys-the-espys-and-wokeness">ESPY Awards</a>, mocking woke sacred cows like former soccer player Megan Rapinoe, a progressive scold synonymous with virtue signaling.
“Megan Rapinoe could not make it tonight … nice.”
A few media outlets grumbled about his “problematic” material. No Cancel Culture-style punishment ensued, nor was he forced to make a “hostage”-style apology.
Now, a rare voice eager to mock the woke mindset returns to do more of the same. “Beavis &amp; Butt-head” creator Mike Judge took an early swing at woke with his failed 2009 ABC sitcom “The Goode Family.” The show proved ahead of its time, teasing a hard-Left clan who strained to be better than, well, everyone.
Now, Judge is using his “King of the Hill” reboot to satirize gender fluidity, cultural appropriation and more on Hulu starting August 4.
Judge isn’t as merciless as Johnston, but his “Hill” gags give the game away. One episode finds wokesters attacking Bobby Hill, now a young man and overseeing a fusion restaurant. The menu in question sparks cries of cultural appropriation, leaving the Hill clan confused and upset.
The show finds a resolution, albeit one that illustrates the wobbly nature of woke criticism.
Has the pop culture dam finally broken on all things woke? The re-election of Donald Trump pushed the pendulum, hard, in that direction. We’re seeing the fruits of that shift now in pop culture.
More may follow.
And, if “SNL,” late-night TV and mainstream comedies continue to avoid these juicy targets, their cultural clout will diminish even further. Just <a href="https://www.dailywire.com/news/nyc-were-with-colbert-rally-draws-tens-of-people-even-cops-go-home">ask Stephen Colbert how that works</a>.
* * *
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.

MixCollage-01-Aug-2025-11-14-AM-5738

Triggered Yet? Pop Culture’s Woke Takedown Has Begun

Triggered Yet? Pop Culture's Woke Takedown Has Begun

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Matt Walsh is a man of many talents — a popular podcaster, a notable documentarian, a feared fisherman, and a <a href="https://www.youtube.com/watch?v=kyrDtgjAgII" target="_blank" rel="noopener">surprisingly good</a> &#8220;Mortal Kombat&#8221; player. There is one persistent trait, however, that must be addressed: his passionate hatred of &#8220;Star Wars.&#8221;
I discovered Walsh’s animosity for &#8220;Star Wars&#8221; in May of 2023 while listening to his <a href="https://www.dailywire.com/episode/ep-1156-princeton-professor-tries-to-debunk-biology-fails-hilariously?elementPosition=155&amp;row=0&amp;rowType=Vertical+Show+Episodes+Carousel">show</a>. After hearing I played a recently released &#8220;Star Wars&#8221; game, he looked dead into the camera and said he was “repulsed by (me) completely.” And then continued to call me a “complete and utter disgrace.” Harsh. 
Last Thursday, theaters nationwide <a href="https://www.instagram.com/p/DIbYlxVpJnc/">launched</a> a week-long re-release of “Star Wars: Episode III – Revenge of the Sith” to celebrate the film&#8217;s 20th anniversary. The film stands out not only for its stunning cinematography, one of a kind soundtrack, and compelling life-lessons, but also as the final “Star Wars” entry before progressive-infused Disney’s acquisition.
Walsh, apparently, did not recognize the exceptional film for what it is. After taking his children to see it in theaters, he <a href="https://x.com/MattWalshBlog/status/1917266257956724823" target="_blank" rel="noopener">took</a> to X and attacked the movie.
I will now address his unfounded criticisms.
His first issue is with the film’s dialogue. Walsh claims “Revenge of the Sith” has “the worst dialogue he’s ever heard in a mainstream Hollywood film.” To support his claim, he quotes a romantic scene between Anakin Skywalker and Padme Amidala: 
<blockquote>Anakin: You’re so beautiful 
Padme: It’s only because I’m so in love
Anakin: No it’s because I’m so in love with you 
Walsh leaves out the second half of the scene, which reveals the lines are not poorly written, but instead an intentional foreshadowing of what is to come later in the film. The scene continues;
Padme: So love has blinded you?
Anakin: Well, that&#8217;s not exactly what I meant. 
Padme: But it’s probably true.</blockquote>
At this point in the film, Anakin believes his wife is going to die in childbirth because of a <a href="https://www.youtube.com/watch?v=BLb_k4Pz3CM" target="_blank" rel="noopener">vision </a>he has in his sleep. As the primary antagonist, Emperor Palpatine (not Ovaltine) tells him that committing to the Dark Side is the only way to save her. This, and his blinding love for Padme, leads him to commit the atrocities he does later in the film. Pure genius from George Lucas, who Walsh claims should be arrested.
<div id="attachment_914885" style="width: 1034px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-914885" class="size-large wp-image-914885" src="https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-35-PM-7863-1024x576.jpg" alt="Star Wars: Episode III - Revenge of the Sith (2005). Hayden Christensen and Natalie Portman. Lucasfilm, Ltd. All rights reserved." width="1024" height="576" srcset="https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-35-PM-7863-1024x576.jpg 1024w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-35-PM-7863-300x169.jpg 300w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-35-PM-7863-768x432.jpg 768w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-35-PM-7863-1536x864.jpg 1536w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-35-PM-7863-2048x1152.jpg 2048w" sizes=" (max-width: 1024px) 100vw, 1024px" />Lucasfilm, Ltd. All rights reserved.</div>
Walsh’s next criticism of the film is that it has “abysmal action choreography.” To me, this attack is the most absurd. 
The final <a href="https://www.youtube.com/watch?v=S3OtoO5zjjU&amp;t=358s">fight</a> between Anakin and Obi-Wan Kenobi, master versus apprentice, is one of the most iconic fight scenes in cinema history. Numerous outlets such as <a href="https://www.youtube.com/watch?v=4VpsG7JA-jc" target="_blank" rel="noopener">WatchMojo</a>, <a href="https://screenrant.com/best-movie-sword-fights-ranked/" target="_blank" rel="noopener">ScreenRant</a>, and <a href="https://movieweb.com/best-one-on-one-sword-fights-in-movies/" target="_blank" rel="noopener">MovieWeb</a> all rank the battle as one of the greatest sword fights in movie history. The fight was choreographed by legendary stuntman Nick Gillard, and is not sped up at all. Both actors trained relentlessly to master each move shown on camera.
<div id="attachment_914883" style="width: 1034px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-914883" class="size-large wp-image-914883" src="https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-30-PM-8822-1024x576.jpg" alt="Star Wars: Episode III - Revenge of the Sith (2005). Hayden Christensen and Ewan McGregor. Lucasfilm, Ltd. All rights reserved. " width="1024" height="576" srcset="https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-30-PM-8822-1024x576.jpg 1024w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-30-PM-8822-300x169.jpg 300w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-30-PM-8822-768x432.jpg 768w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-30-PM-8822-1536x864.jpg 1536w, https://dw-wp-production.imgix.net/2025/05/MixCollage-01-May-2025-04-30-PM-8822-2048x1152.jpg 2048w" sizes=" (max-width: 1024px) 100vw, 1024px" />Lucasfilm, Ltd. All rights reserved.</div>
Walsh specifically attacks the final move of the duel between Obi-Wan and Anakin, saying the following;
<blockquote>Anakin jumps and flips through the air like Spider-Man but then at the end he loses because the other guy is standing on a small hill and has the higher ground. This was for some reason an insurmountable strategic advantage, even though Anakin had just seconds earlier leaped like 20 feet in the air while doing flips like an Olympic gymnast. So then Anakin decides to jump directly over top the other guy, close enough that he can just casually reach up and cut his legs off. He could have jumped anywhere else on the hill, or just a little higher, and avoided this issue.</blockquote>
Like many things Walsh has criticized in the film, the seemingly risky move Anakin used was intentional. Young Anakin Skywalker was fascinated by his master Obi-Wan’s triumph over Darth Maul in “Episode I: The Phantom Menace.” To defeat Maul, Obi-Wan <a href="https://www.youtube.com/watch?v=lsAEdblcqU4" target="_blank" rel="noopener">flipped over him</a> and cut him in half upon landing.
When Anakin fights Obi-Wan, his pride and ego is at an all time high. He wants to prove to his once-master that he is now his superior. This is why moments before the final move, Anakin tells Obi-Wan, “You underestimate my power!”
Obi-Wan can sense Anakin is going to try his own move against him, so he offers one final warning, “Don’t try it.” Anakin did not listen, and ended up getting his legs cut off.
Walsh also criticized where the battle takes place, on a lava planet “for some reason.” He clearly suffers from a lack of knowledge in &#8220;Star Wars&#8221; lore. It’s the same reason he doesn’t understand why Anakin jumped over Obi-Wan.
The planet they fought on, Mustafar, is <a href="https://starwars.fandom.com/wiki/Mustafar" target="_blank" rel="noopener">described</a> by Wookiepedia as “powerful in the Dark Side of The Force.” Palpatine sent Anakin there so he could tap into the Dark Side more intensely as he slaughtered the separatists who were awaiting him. In the 2017 comic Darth Vader 5, Palpatine <a href="https://starwars.fandom.com/wiki/Darth_Vader_(2017)_5" target="_blank" rel="noopener">instructs</a> Vader to return to Mustafar because it “is not like other planets. It is unique. Deep beneath its surface rests a locus for the Dark Side of The Force.&#8221;
Vader was so drawn to the planet’s Dark Side power that seven years after “Revenge of the Sith,” he built his <a href="https://starwars.fandom.com/wiki/Fortress_Vader" target="_blank" rel="noopener">castle</a>, Fortress Vader, there. 
Walsh’s final objection to the film was that it “took itself too seriously.” He expands on this by claiming “You can’t be campy and fun and also have mass child slaughter in the same film.”
Most of Walsh&#8217;s criticisms come from a lack of looking beneath the surface, taking everything at face value. “Revenge of the Sith” was always meant to be lighthearted in the beginning, and tragic in the end. After nearly three decades of fans left without a backstory, the purpose of the movie was to show how Hollywood’s most iconic villain, Darth Vader, transformed from a cunning warrior for good, to the embodiment of evil.
Following the classic hero&#8217;s journey literary archetype, we witness Anakin’s lighthearted upbringing in Episodes 1 and 2, his tragic fall in the second half of Episode 3, and his eventual redemption in Episode 6. A story that George Lucas brilliantly wrote and produced over 3 decades.
Walsh’s tweet thread ends on a lighter note, expressing that despite all of his concerns, his kids liked it. To me and countless other fans who believe “Revenge of the Sith” is one of the greatest films ever made, we can only hope Matt Walsh will read this piece and watch it again with an open mind.
* * *
Jacob Falach is an associate producer at The Daily Wire. You can find him on Instagram at: @jacobfalach.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.
Correction: A previous version of this article stated Ray Park was the fight and stunt coordinator for the film. The actual fight and stunt coordinator for &#8220;Revenge of the Sith&#8221; was Nick Gillard.

Star Wars Episode III – Revenge Of The Sith Photocall In Japan

Why Matt Walsh Is Wrong About ‘Revenge Of The Sith’

Why Matt Walsh Is Wrong About 'Revenge Of The Sith'

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I try to keep abreast of the various movies that are nominated for the Best Picture Oscar, even though there hasn&#8217;t been a solid winner in the Oscars for years at this point. 
This year, the frontrunner is a movie titled “Emilia Pérez,” which was nominated for 10 Golden Globes. It won four.
It is one of the worst movies ever made. It is horrible in every way possible for it to be horrible.
I’m going to break down this review into a few categories. First, we&#8217;re going to go through the actual movie plot, the performances, and the music. Then, we&#8217;ll get to the blowback.
The premise of this unbelievably stupid, insulting, and morally vacuous film involves a gangland drug leader, played by Karla Sofía Gascón, who is a trans woman, which is to say, a man. In real life, Gascón identified as a male until his mid-forties. In 2018, at the age of 46, Gascón decided that he was, in fact, a she and decided to go through all of the various surgeries to make him look more like a her. 
I would say rather unsuccessfully.
In this particular story, Gascón plays a Mexican drug lord, the head of a deadly drug cartel who decides he does not just want to disappear, but also wants to become a woman. He&#8217;s apparently always wanted to be a woman. The lawyer he ropes into this game is Rita Mora Castro, played by Zoe Saldana, who will help the newly-named Emilia Pérez become a woman.
The basic premise of the film is reliant on one essential idea about life. If you don&#8217;t buy into this idea, the entire movie is actually quite evil. That idea is: If you cut off your genitals, this makes you a better person. The basic premise of the film is: If a genocidal, murderous drug lord wants to feel like a woman, undergoes many surgeries and hormone treatments, that person is to be treated as a feminist saint after emerging on the other side.
Without that crazy perspective, none of the movie works and the whole tale becomes rather sinister.
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Now, you may be saying to yourself, this sounds like a comedy. If you watch the film as a comedy, it is uproariously funny, since none of it follows. It makes no sense. All the things that are supposed to be serious are hilarious. It is one of the most ridiculous movies ever filmed.
This drug lord is married to a character played by Selena Gomez, legitimately one of the worst actresses alive. Inanimate objects have more affect than Gomez.
The transgender woman&#8217;s lover, played by Adriana Paz, is a person named Epifania.
The drug lord’s wife and two children move to Switzerland with the drug lord’s money. Four years later, the drug lord, now a transgender woman, approaches the lawyer and says, basically, “I would like to get in touch with my kids again, so I&#8217;m going to pretend to be my cousin living in Mexico. I&#8217;m going to pay my ex-wife and the kids” — the wife thinks he&#8217;s dead at this point —  “to come live with me in Mexico.” Complications ensue because it turns out the wife has a lover. And not only that, but so does Emilia Pérez. At this point, he falls in love with a woman. 
All of this comes as the lawyer and Pérez decide that not only is it time for Pérez to return to Mexico as a woman, but it is also time for Pérez to become an extraordinarily high-scale public figure who uncovers all of the bodies of people murdered by drug cartels. At no point, by the way, does this drug cartel leader actually apologize to anyone for having murdered humans.
Instead, this person just traipses around explaining that it&#8217;s very bad to kill people and bury their bodies in unnamed places and so on. By the end of the film, the drug cartel leader and his ex-wife have died in a car crash and the children now belong to the lawyer.
If you followed all of that, congratulations; either you have a screw loose, or you are great at following nonsensical plots.
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All of this is accompanied by some of the worst music and performances in a film. In a musical, the music should be good, but in this musical, the music is just absolute sheer, unmitigated horror. It was written by Camille, a French singer, and Clément Ducol, a French film composer. It&#8217;s absolutely, horrifyingly bad. The lighting is terrible. The choreography is terrible.
At one point, Pérez goes into the bedroom of one of his children and lies down next to his child. They can&#8217;t fall asleep. And the kid tells him he smells like his father.
Well, yes; you&#8217;ve f***ed up that kid&#8217;s life beyond all recognition. First of all, you&#8217;re a drug lord. Second of all, you deprived that kid of a father so that you could play dress up.
And we&#8217;re supposed to be sympathetic to this person for some reason?
The lyrics are terrible in this scene. The dude smells like “mountains, leather coffee, spicy food, sugar, lamb on the fire, the engine, Diet Coke with lemon, ice, and sweat.” He also smells of “little stones warmed by the sun, mint, Mezcal, guacamole, dogs on car rides, cigarettes.”
Who wrote this? This whole musical was written by a person being hit in the head with a brick.
The end of the film is a parade with a statue looking like the Virgin Mary of this trans-woman, drug-cartel leader who engaged in mass murder, was never prosecuted for it, and betrayed his wife and children. But this person is a saint now, because that&#8217;s how the politics work here.
The whole musical turns on one fundamental moral supposition: If you are a person with gender dysphoria and cut off your genitals or have hormone surgery, this means all sins — past, present, and future — are wiped away. All of them. You can do anything to anyone at any time, and you are fully justified in doing so because you have found your identity.
This will be the worst Best Picture winner since “The Shape of Water,” although that’s a brutal decision, the &#8220;Sophie&#8217;s Choice&#8221; of bad movies decisions. Which do you pick? You&#8217;re on a desert island, and you only can watch one of these two movies for the rest of time. Which one?
The third option is to drown yourself.
Which may be preferable.

82nd Annual Golden Globe Awards – Press Room

‘Emilia Pérez’: It’s Better To Drown Yourself Than See It

'Emilia Pérez': It’s Better To Drown Yourself Than See It

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Mary, did you know one day you’d be reimagined?
Before you hit play, you have to read what those behind the new Netflix film “Mary” — billed as a “survival thriller” — are saying to understand the direction Hollywood is going with the movie.
Released earlier this month, screenwriter Timothy Michael Hayes <a href="https://whitmanhansonexpress.com/whitmans-timothy-michael-hayes-pens-netflix-film-script/" target="_blank" rel="noopener">said</a>, “One challenge was that they wanted (the) film to appeal to all denominations and all dogmas.”
The first hint at a modern-day inclusive Mary.
After all, they consulted Christian, Jewish, and Muslim leaders when writing the screenplay. Yes, Muslim leaders. Show of hands if you think Hollywood would consult Christians on a film about Mohammed. Me neither.
Bible-believing Christians are naturally upset about the liberties taken to recreate Mary. Director of &#8220;Mary,&#8221; D.J. Caruso, said he wanted to give the world a portrayal of the real, human Mary even though the Bible doesn&#8217;t have much to say about her.
And the anti-Israel crowd is coming in hot because an Israeli Jewish woman, Noa Cohen, was cast as Mary, the Jewish mother of Jesus. The calls for boycotts quickly went out on social media.
Let’s just be real: If you are in the habit of spewing anti-Semitism online, then you are probably never going to watch a movie about the mother of Jesus.
Cohen, clearly has no idea who Mary was, <a href="https://thedirect.com/article/mother-mary-netflix-noa-cohen-bible-story-movie" target="_blank" rel="noopener">saying</a>, 
<blockquote>Mary’s being portrayed in a whole new light in my opinion. It&#8217;s giving her her voice back. She&#8217;s not just a vessel for something greater than herself.</blockquote>
Actually, that’s exactly who the mother of Jesus was. Saying she’s “not just a vessel” is an ignorant statement — as if it’s not enough to be chosen by God as a key instrument in His perfect plan to bring His son to earth so that He may be the ultimate sacrifice for our salvation, as Christians believe. This production brings an obvious feminist twist and an attempt to modernize Mary with an actress who doesn’t understand her story or purpose.
<div id="attachment_848557" style="width: 471px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-848557" class="wp-image-848557 size-large" src="https://dw-wp-production.imgix.net/2024/12/MixCollage-23-Dec-2024-10-50-AM-4074-461x576.jpg" alt="&quot;Mary.&quot; Netflix. Aloe Entertainment. Creativity Media. IMDB." width="461" height="576" srcset="https://dw-wp-production.imgix.net/2024/12/MixCollage-23-Dec-2024-10-50-AM-4074-461x576.jpg 461w, https://dw-wp-production.imgix.net/2024/12/MixCollage-23-Dec-2024-10-50-AM-4074-240x300.jpg 240w, https://dw-wp-production.imgix.net/2024/12/MixCollage-23-Dec-2024-10-50-AM-4074-768x960.jpg 768w, https://dw-wp-production.imgix.net/2024/12/MixCollage-23-Dec-2024-10-50-AM-4074-1229x1536.jpg 1229w, https://dw-wp-production.imgix.net/2024/12/MixCollage-23-Dec-2024-10-50-AM-4074.jpg 1440w" sizes=" (max-width: 461px) 100vw, 461px" />&#8220;Mary.&#8221; Netflix. Aloe Entertainment. Creativity Media. IMDB.</div>
With some exceptions, faith-based movies often ping-pong between being cringe-worthy or missing the biblical mark. A mark they likely never intended to hit.
When I heard that prosperity gospel megachurch pastor Joel Osteen was an executive producer of Mary, I was fairly confident this movie would plant itself in the second camp, landing short of the biblical target. Gaining health and wealth is at the center of the prosperity gospel, and generally absent of sound biblical theology.
<a class="c-link" href="https://get.dailywire.com/gift-guide/" target="_blank" rel="noopener noreferrer" data-stringify-link="https://get.dailywire.com/gift-guide/" data-sk="tooltip_parent">CHECK OUT THE DAILY WIRE HOLIDAY GIFT GUIDE</a>
On X, Osteen <a href="https://x.com/JoelOsteen/status/1865074051921641658" target="_blank" rel="noopener">teased</a> the movie, saying, “See Mary like you’ve never seen her before.” Tell me you’re not going to stick to the Bible without telling me.
If you hit play, right out of the gate, Mary opens the film with, “You may think you know my story. Trust me, you don’t.”
Trust me, Netflix, we do — for the Bible tells us so.
Friendly PSA: If you’re letting Hollywood teach you theology, you’re doing it wrong.
It’s bad enough Disney is tragically “reimagining” their classics — one painful reboot at a time. Their <a href="https://www.forbes.com/sites/soniathompson/2024/08/22/did-disney-make-the-right-decision-about-the-dwarfs-for-snow-white-movie/" target="_blank" rel="noopener">second attempt</a> at reimagining “Snow White” comes out next year, and includes seven computer-generated “magical creatures” instead of dwarfs and a Latina Snow White who publicly trashed the original “Snow White.” In spite of the politically correct ring kissing having no floor or ceiling — you can never bend the woke knee enough, even for magical creatures — everyone understands animated fairytales are fiction. That doesn’t change the fact that liberties taken with Dopey and Sneezy are still dumb. For a majority of Americans, however, the Bible is not fiction. Adherence to its original context without ad libbing an agenda is something many of us take very seriously. 
Director of “Mary,” D.J. Caruso, <a href="https://religionnews.com/2024/12/06/new-netflix-film-wants-to-make-mary-accessible-to-all/">said</a>, 
<blockquote>The world needs to see Mary, and they need to see her in a new light. My goal was to see if I could present Mary in a beautiful way, in a way that a younger audience could see her and relate to her as not just this beautiful, iconic holy mother, but as a young girl who had to make sacrifices and struggle and deal with things that a lot of the contemporary youth are dealing with today.</blockquote>
While, no doubt, young girls today have serious struggles and make sacrifices, none will ever be able to relate to being chosen to carry the Savior of the world through an immaculate conception and the potential earthly consequences she may have faced. The most they can do is respect her faithfulness.
A bright light has been shining on Mary for more than 2,000 years. Her story and her obedience to God are just as beautiful and relevant today as it was back then.
If God wanted us to have a different take on Mary, He would have provided one and not waited more than 2,000 years for Netflix to offer its take.
In “Mary,” her cousin Elizabeth <a href="https://stmarkministries.com/2024/12/should-you-watch-the-mary-movie-on-netflix/" target="_blank" rel="noopener">tells her</a>, “Trust the strength inside of you.” It sounds eerily like the gospel of self-actualization trending in today’s “me” centered culture. It also sounds like something you’d hear straight from Joel Osteen.
Hollywood doesn’t need to give the mother of Jesus a reboot in order to reach large audiences and reap the financial rewards. On the rare occasion it does produce a film that&#8217;s faithful to Scripture, such as “The Passion of the Christ,” audiences turn out in droves — to the tune of over $600 million at the box office.
Hollywood is great at making Hallmark movies, but not so much with theologically accurate narratives.
Caruso <a href="https://www.yahoo.com/entertainment/mary-noa-cohen-comments-bible-113606680.html" target="_blank" rel="noopener">wants us to believe</a> that Mary is &#8220;sort of a superhero without powers.” The film wraps with Mary — the superhero — announcing that “Love will save the world.”
Nice bumper sticker, but if you’re a Christian, you know that it’s God’s Son who came to save the world, and He’s the only superhero in this story.
* * *
Lauren DeBellis Appell, a former lobbyist and communications aide on Capitol Hill, is a writer based in Fairfax, Virginia. Follow her on X <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_ldappell-3Flang-3Den&amp;d=DwMFaQ&amp;c=cnx1hdOQtepEQkpermZGwQ&amp;r=kaAUPcZhpO1MvBc6jwa0VBiGZWXka6ART1tFuyQjLfc&amp;m=vTKo4FePDMyKVWSuxLCuaaDL3sLK4GEfxQYz1yppw20&amp;s=SGybKxJyqU1J2FWxExk5C2vqBiQeF6THIyErZ--DZHc&amp;e=" target="_blank" rel="noopener">@LDAppell</a>.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.

MixCollage-23-Dec-2024-11-00-AM-8948

Netflix’s ‘Mary’ Is Quite Contrary To Reality

Netflix’s 'Mary' Is Quite Contrary To Reality

Bible

Jesus Christ

Christmas traditions never change.
Open presents. Sip steaming mugs of hot chocolate. Suffer through your wayward uncle’s off-color jokes. And, when the festivities have drawn to a close, hit the local theater.
Hollywood uncorks its “Oscar-bait” films this time of the year, and the December crop is heartier than usual. The best of the best? A look back at the singer/songwriter who shaped the soundtrack of the 1960s.
<h3>“<a href="https://www.imdb.com/title/tt11563598/" target="_blank" rel="noopener">A Complete Unknown</a>” (December 25)</h3>
<div id="attachment_847611" style="width: 1034px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-847611" class="wp-image-847611 size-large" src="https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-22-AM-4289-1024x576.jpg" alt="Timothée Chalamet in “A Complete Unknown” (2024). Photo by Macall Polay. Searchlight Pictures. Veritas Entertainment. The Picture Company. IMDB." width="1024" height="576" srcset="https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-22-AM-4289-1024x576.jpg 1024w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-22-AM-4289-300x169.jpg 300w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-22-AM-4289-768x432.jpg 768w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-22-AM-4289-1536x864.jpg 1536w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-22-AM-4289-2048x1152.jpg 2048w" sizes=" (max-width: 1024px) 100vw, 1024px" />Timothée Chalamet in “A Complete Unknown” (2024). Photo by Macall Polay. Searchlight Pictures. Veritas Entertainment. The Picture Company. IMDB.</div>
Musical biopics became so clichéd, they even made a movie about it. “Walk Hard: The Dewey Cox Story” shredded the genre, and rightfully so. Director James Mangold’s “A Complete Unknown” can’t help but recreate a few of those tics, like key characters turning on the TV just in time to hear, “President Kennedy has been shot.” What timing!
That’s where the Dewey Cox comparisons come to a screeching halt.
Timothée Chalamet studied for six years to sound like folk icon Bob Dylan, and those sessions more than paid off. He brings the inscrutable star to life without feeling like a cheap impersonation. 
The title teases we may never know what makes Dylan tick, but the biopic captures why he mattered to the roiling ‘60s. It’s the music, of course, plus beguiling lyrics that resonated with a generation. it’s refreshing to watch an artist stay true to his principles no matter the era, not bend to the pop culture winds. How many modern stars can say the same?
<h3>“<a href="https://www.imdb.com/title/tt8999762/?ref_=nv_sr_srsg_1_tt_7_nm_0_in_0_q_the%2520brut" target="_blank" rel="noopener">The Brutalist</a>” (December 20)</h3>
<div id="attachment_847561" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-847561" class="wp-image-847561 size-large" src="https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-29-AM-8302-864x576.jpg" alt="Guy Pearce and Adrien Brody in “The Brutalist” (2024). A24 Films. Brookstreet Pictures. Kaplan Morrison. Intake Films. IMDB." width="864" height="576" srcset="https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-29-AM-8302-864x576.jpg 864w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-29-AM-8302-300x200.jpg 300w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-29-AM-8302-768x512.jpg 768w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-29-AM-8302-1536x1024.jpg 1536w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-29-AM-8302-2048x1365.jpg 2048w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-29-AM-8302-1800x1200.jpg 1800w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-29-AM-8302-1200x800.jpg 1200w" sizes=" (max-width: 864px) 100vw, 864px" />Adrien Brody and Guy Pearce in “The Brutalist” (2024). A24 Films. Brookstreet Pictures. Kaplan Morrison. Intake Films. IMDB.</div>
Quick — who wants a three-plus hour look at an architect’s combustible life? As sales pitches go, it’s a dud. Yet director Brady Corbet (“Vox Lux”) brings so much energy to the fictional life of László Tóth that the film proves mesmerizing.
Adrien Brody’s Tóth, a Hungarian Jew who escapes the Nazi’s clutches, comes to America eager to forge a new life. His beloved wife (Felicity Jones) awaits back home, leaving him to create a career that will allow them to reunite.
He’s aided by a mercurial millionaire (Guy Pearce, excellent), but their bond fractures over time. Tóth’s journey speaks volumes about the immigrant experience and the artistic mindset, not to mention the egos behind the characters.
The word “epic” is tossed around glibly in Hollywood, but “The Brutalist” is one of the few modern tales that deserves the label. Yes, that running time factors in, but it’s the scope of Corbet’s storytelling ambition that matters.
Brody is spectacular, suggesting he could add a second Best Actor trophy to his mantle come Oscar night. His performance anchors a fiercely original tale not soon forgotten.
<h3>“<a href="https://www.imdb.com/title/tt1262426/?ref_=fn_all_ttl_1" target="_blank" rel="noopener">Wicked</a>” (In Theaters Now)</h3>
<div id="attachment_847565" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-847565" class="size-large wp-image-847565" src="https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-37-AM-2933-864x576.jpg" alt="Ariana Grande and Cynthia Erivo in “Wicked” (2024). Photo by Universal Pictures. Copyright: Universal Studios. All Rights Reserved. Universal Pictures. Marc Platt Productions. SKY Studios. IMDB." width="864" height="576" srcset="https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-37-AM-2933-864x576.jpg 864w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-37-AM-2933-300x200.jpg 300w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-37-AM-2933-768x512.jpg 768w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-37-AM-2933-1536x1024.jpg 1536w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-37-AM-2933-2048x1365.jpg 2048w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-37-AM-2933-1800x1200.jpg 1800w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-09-37-AM-2933-1200x800.jpg 1200w" sizes=" (max-width: 864px) 100vw, 864px" />Ariana Grande and Cynthia Erivo in “Wicked” (2024). Photo by Universal Pictures. Copyright: Universal Studios. All Rights Reserved. Universal Pictures. Marc Platt Productions. SKY Studios. IMDB.</div>
Forget that <a href="https://www.uscannenbergmedia.com/2024/11/27/holding-space-and-hefty-tears-why-are-people-talking-about-the-wicked-press-tour/" target="_blank" rel="noopener">cringe-worthy press tour</a>. 
Forgive how the film’s title hides that this is but part one of a two-part saga. (“Wicked: For Good” arrives next November)
“Wicked” offers everything we love about big-screen musical adaptations. It all starts with Ariana Grande and Cynthia Erivo, who bring bold, Broadway-worthy voices to Glinda and Elphaba, AKA the Wicked Witch of the West.
The story remains provocative given the “Wizard of Oz” source material. That wicked witch wasn’t always so foul. How she curdled into the film’s signature ghoul is a tortured path with a touch of heartbreak.
The Broadway musical supplied the memorable songs, but director Jon M. Chu adapted the show with energy, wit, and memorable moments. No, the great Jeff Goldblum’s voice isn’t up to the challenge as Oz, but in every other way “Wicked” deserves applause.
<h3>“<a href="https://bestchristmaspageantever.movie/" target="_blank" rel="noopener">The Best Christmas Pageant Ever</a>” (In Theaters)</h3>
<div id="attachment_847577" style="width: 1034px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-847577" class="size-large wp-image-847577" src="https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-05-AM-1575-1024x576.jpg" alt="The Best Christmas Pageant Ever (2024). Dallas Jenkins. Lionsgate. Media Capital Technologies. Kingdom Story Company. IMDB." width="1024" height="576" srcset="https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-05-AM-1575-1024x576.jpg 1024w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-05-AM-1575-300x169.jpg 300w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-05-AM-1575-768x432.jpg 768w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-05-AM-1575-1536x864.jpg 1536w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-05-AM-1575-2048x1152.jpg 2048w" sizes=" (max-width: 1024px) 100vw, 1024px" />The Best Christmas Pageant Ever (2024). Dallas Jenkins. Lionsgate. Media Capital Technologies. Kingdom Story Company. IMDB.</div>
The best Christmas movies forget one critical element: Christ. Think “A Christmas Story,” “Elf” and “Christmas Vacation.” We love ‘em all, but it’s refreshing to see a holiday comedy acknowledge the reason for the season.
“Pageant,” based on the 1972 book of the same name, follows a group of wayward kids as they commandeer a small town’s Christmas gala. It’s a recipe for disaster, unless one uber-patient mom (Judy Greer, marvelous as always) can teach the kids why Christmas matters in the first place.
<h3><a href="https://get.dailywire.com/gift-guide/" target="_blank" rel="noopener">CHECK OUT THE DAILY WIRE HOLIDAY GIFT GUIDE</a></h3>
Sweet and soulful, “Pageant” delivers early laughs that set the story in motion. From there, look to young Beatrice Schneider as Beth, the unofficial leader of the cruel Herdman clan. Her transformation supplies “Pageant” with its big, beating heart.
<h3>“<a href="https://www.imdb.com/title/tt21823606/?ref_=fn_all_ttl_1">A Real Pain</a>” (In Theaters) </h3>
<div id="attachment_847593" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-847593" class="size-large wp-image-847593" src="https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-13-AM-4859-864x576.jpg" alt="Kieran Culkin and Jesse Eisenberg in “A Real Pain” (2024). Searchlight Pictures. Topic Studios. IMDB." width="864" height="576" srcset="https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-13-AM-4859-864x576.jpg 864w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-13-AM-4859-300x200.jpg 300w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-13-AM-4859-768x512.jpg 768w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-13-AM-4859-1536x1024.jpg 1536w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-13-AM-4859-2048x1365.jpg 2048w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-13-AM-4859-1800x1200.jpg 1800w, https://dw-wp-production.imgix.net/2024/12/MixCollage-20-Dec-2024-10-13-AM-4859-1200x800.jpg 1200w" sizes=" (max-width: 864px) 100vw, 864px" />Kieran Culkin and Jesse Eisenberg in “A Real Pain” (2024). Searchlight Pictures. Topic Studios. IMDB.</div>
Actor-turned-director Jesse Eisenberg has his finger on the zeitgeist. His second directorial effort follows two Jewish cousins as they travel to Poland to visit their late grandmother’s hometown.
They’re part of a tour designed to connect Jewish travelers to their cultural past, which includes stops at a concentration camp among other emotionally charged locations.
Eisenberg and Kieran Culkin play the squabbling cousins. Culkin is the wild child, someone who loves to stir things up no matter the setting. Eisenberg adores his cousin but simultaneously wants to wring his neck.
Audiences can relate, although Culkin’s performance is sparking awards consideration, and for good reason.
“A Real Pain” is bittersweet, moving, and filled with gentle truths about the human condition. Eisenberg performs a balancing act throughout, letting us care for two very different souls without shoving the real-life trauma of their heritage into the background.
* * *
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.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.

MixCollage-20-Dec-2024-09-13-AM-9997

‘Tis The Season: 5 Films To Watch This Christmas

'Tis The Season: 5 Films To Watch This Christmas

Christmas

Christmas movies

movie

Aside from taking my word for it, there are a few different ways you can decide whether my new film &#8220;<a href="https://www.amiracist.com/" target="_blank" rel="noopener">Am I Racist?</a>&#8221; is worth seeing in theaters. You can look at the audience score on Rotten Tomatoes, where we&#8217;re sitting at 99% audience rating — what Rotten Tomatoes calls &#8220;Verified Fresh.” That means that 99% of the people who actually watched the movie — the verified audience — liked it. So, you can look at that or you can look at the box office returns, which put us in the top 5 of all films in the genre released in the past decade, and the top 4 this weekend. Or you could watch the interviews and trailers and behind-the-scenes videos.
But if you really want to know how effective the film is, there&#8217;s an even better, much simpler option. You can just take a look at what professional, mainstream movie critics are saying about the film. You can go to websites like Time and The New Yorker and IndieWire and Rolling Stone and The New York Times and the AP, head over to their movie reviews section, and search for &#8220;Am I Racist?&#8221;. And what you&#8217;ll find is … absolutely nothing. None of these outlets have said a word about the film. In fact, as of today, there is not a single mainstream movie critic who has reviewed &#8220;Am I Racist?&#8221;, two days after the film&#8217;s opening weekend.
As far as I can tell, &#8220;<a href="https://www.amiracist.com/" target="_blank" rel="noopener">Am I Racist?</a>&#8221; is the only top-5 box office film that hasn&#8217;t had a single mainstream critic review by the end of its opening weekend. I am not aware of a single other case of this happening, ever. To get a sense of how unusual this is, consider a couple of other movies that also debuted in theaters this weekend — like &#8220;The Killer&#8217;s Game&#8221; for example. It was playing in 1,000 more theaters than our film. It also grossed 2.6 million dollars against a budget of $30 million. 
For comparison, &#8220;Am I Racist?&#8221; grossed more than 4.5 million dollars against a budget of $3 million. So our movie performed a lot better, despite having a smaller budget and appearing in fewer theaters. We also have a much higher audience score. And yet, &#8220;The Killer&#8217;s Game&#8221; has an official critic score on Rotten Tomatoes, coming in around 38%. There are more than 30 critic reviews for the film. 
Meanwhile, the film called &#8220;My Old Ass,&#8221; which apparently is not a Biden biopic, also came out September 13. It was only in seven theaters this weekend, as part of a limited release, and made $170,000. So it didn&#8217;t even rank in the box office top-10 this weekend. But it has an official Rotten Tomatoes critic score as well, with more than 85 critic reviews.
If &#8220;Am I Racist?&#8221; were a bad film — if we didn&#8217;t succeed in doing what we set out to do — then this wouldn&#8217;t be happening. We&#8217;d be getting panned by every mainstream outlet. They&#8217;ve done that to a lot of other media created by people outside the Hollywood bubble. Usually if they have an opportunity to rip a piece of “conservative” entertainment to shreds, they are more than happy to take advantage of it. But they&#8217;re not doing that here. Instead, they&#8217;re ignoring &#8220;Am I Racist?&#8221; entirely, as if it doesn&#8217;t exist. They&#8217;re terrified to even mention a film that mocks the DEI industry because they know that the DEI industry can only survive if no one is allowed to question it. 
<h4><a href="https://www.amiracist.com/" target="_blank" rel="noopener">Am I Racist? Is In Theaters NOW — Get Your Tickets Here!</a></h4>
Also, our movie is actually good. I think that’s what scares them the most. I know that sounds self-serving. Saying that critics aren’t reviewing my movie because it’s too good sounds like some grade-A, hardcore cope. But in this case it’s true. I invite any critic to challenge me on that point. 
So this is why they won&#8217;t write about our film, even to condemn it. It&#8217;s the same approach we saw with &#8220;<a href="https://www.dailywire.com/videos/what-is-a-woman" target="_blank" rel="noopener">What is a Woman?</a>&#8220;, except it&#8217;s even more flagrant this time. They can&#8217;t hide behind the excuse that the film is only available on a streaming platform anymore. These mainstream reviewers, in this case, are deliberately ignoring a theatrical release in more than 1,500 theaters. 
At the same time, as I outlined last night on Twitter, we did receive a handful of reactions from independent critics when we sent out screeners for the film back in mid-August. And many of the responses from these critics strongly suggested that the mere presence of the screener in their inbox had triggered a full-on mental breakdown. 
One critic wrote, &#8220;You&#8217;d have to strap me to a chair like Malcolm McDowell to get me to watch this thing.&#8221; 
Another responded with this: &#8220;Ew. Take me off of this list.&#8221;
As for more mainstream outlets, some of them did indicate some potential interest in writing a review. One of those outlets was Variety — which actually wrote a pretty fair article covering our film&#8217;s expansion into 1,500 theaters about a week ago. But they still haven&#8217;t reviewed the film. In fact, they wrote in an article that The Daily Wire, “did not screen [the movie] for critics.” That&#8217;s an odd claim to make, especially since we sent Variety a screener of the film. We asked them to correct that error, and they didn&#8217;t. 
Meanwhile, Rolling Stone was one of the first outlets to request a screener all the way back in July. But they still haven&#8217;t published a review either, which is too bad, because I was really looking forward to their take. They went on a tirade about my last film, labeling it &#8220;transphobic,&#8221; so I can&#8217;t wait to see their meltdown over &#8220;Am I Racist?&#8221;. Maybe that&#8217;s coming. We can only hope.
<h4><a href="https://www.dailywire.com/episode/ep-1444-member-exclusive" target="_blank" rel="noopener">WATCH: The Matt Walsh Show</a></h4>
But there are some independent critics who aren&#8217;t this cowardly. Jeremy Jahns is one of them. He has a large fanbase on YouTube, with about two million followers. He&#8217;s the single biggest independent reviewer who&#8217;s reviewed our film. I encourage you to watch <a href="https://www.youtube.com/watch?v=hh3p_MsIW_A" target="_blank" rel="noopener">the whole thing</a>, because he makes a lot of smart observations. Here&#8217;s part of it:
<iframe loading="lazy" title="Am I Racist? - Movie Review" width="500" height="281" src="https://www.youtube.com/embed/hh3p_MsIW_A?start=99&#038;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>
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The introduction to that review is maybe the most interesting part. It&#8217;s clear that Jeremy Jahns understood that, by reviewing my film, he&#8217;d get a lot of backlash from the Left. That&#8217;s not because anyone on the Left has actually seen the film. It&#8217;s because activists on the Left can&#8217;t tolerate any kind of mockery of their ideology. They know that nothing they believe survives any scrutiny, and it certainly doesn&#8217;t survive satire. That&#8217;s the case with gender ideology, which is why they were so outraged by &#8220;<a href="https://www.dailywire.com/videos/what-is-a-woman" target="_blank" rel="noopener">What is a Woman?</a>&#8220;. And it&#8217;s true of DEI as well.
The simplest thing to do, if Jeremy Jahns wanted to avoid this inevitable backlash, would have been to ignore the film like everyone else. Then he wouldn&#8217;t have a horde of angry, unhappy people attacking him on social media. But Jahns decided that the film looked interesting, so he reviewed it. 
In fact, he says that his hesitation about reviewing the film ultimately made it more interesting to him. And that makes sense. Forbidden topics are more interesting than the usual, rote corporate propaganda. For making that decision, Jahns has been subjected to a smear campaign over the last 48 hours. 
A guy named Jeff Zhang, for example, <a href="https://x.com/strangeharbors/status/1835727281131507978" target="_blank" rel="noopener">wrote</a>: &#8220;Mainstream criticism is in pretty dire straits, but most critics can still recognize dog whistle tripe when they see it. Also, Jeremy Jahns hasn’t leveled-up his film analysis once in almost two decades.&#8221; 
For the record, Jeff Zhang calls himself a &#8220;film critic,&#8221; and here, he&#8217;s demeaning another critic for reviewing a film. Jeff Zhang has not seen &#8220;Am I Racist?&#8221;, but he&#8217;s calling it &#8220;dog whistle tripe,&#8221; and then he&#8217;s launching into a personal attack on someone who has seen the film. And then, for good measure, Jeff Zhang laments the state of &#8220;mainstream criticism.&#8221; It&#8217;s maybe the least self-aware post ever made on X, which is really saying something.
Zhang illustrates a major underlying problem with the movie industry very well, which is that the role of &#8220;film critic&#8221; has changed a lot in recent years. They now think that their job is to enforce ideological orthodoxy, not to review films. In that sense, film critics are no different from the swarm of online Left-wing activists who relentlessly attacked Jeremy Jahns all day yesterday. There were hundreds of posts accusing him of &#8220;embracing full-blown racism&#8221; and taking money from The Daily Wire and so on. Reddit was especially furious. There were posts saying Jahns was &#8220;openly racist and fascist&#8221; and was &#8220;preparing to become a right-wing grifter.&#8221; 
Matt Jarbo, who runs some kind of film podcast, <a href="https://x.com/mjarbo/status/1835382105909731515" target="_blank" rel="noopener">wrote</a>: &#8220;Midlife crisis Jeremy Jahns is not the villain origin story I was expecting.&#8221; Yes, for reviewing a film, a film critic is having a &#8220;midlife crisis.&#8221; He&#8217;s become a &#8220;villain.&#8221;
This is how they&#8217;re enforcing the near-total blackout of mainstream reviews for &#8220;Am I Racist?&#8221;. They don&#8217;t want anyone to even mention the film. Fortunately, not every reviewer is going along with it. The folks at FilmThreat also just posted <a href="https://www.youtube.com/watch?v=B0wj0lJYgjI" target="_blank" rel="noopener">a lengthy and quite interesting review</a> of the film. Here&#8217;s part of it:
<iframe loading="lazy" title="002 Film Threat" width="500" height="281" src="https://www.youtube.com/embed/6MhSXo6VokI?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>
&nbsp;
It would be interesting to see what &#8220;Jeff Zhang&#8221; and &#8220;Matt Jarbo&#8221; think of FilmThreat&#8217;s review. Is everyone at FilmThreat having a mid-life crisis too, because they reviewed a movie? Are they also villains for liking it? Is that guy a fascist white supremacist for laughing about the Jussie Smollett scene? 
These kinds of mob tactics stop working the moment people stand up to them. As soon as people disregard the activists and actually watch the movie, or watch some of these independent reviews, then they immediately realize how absurd the smears really are. That&#8217;s why their real goal has been to prevent anyone from seeing the movie in the first place. They don&#8217;t want theaters to show this film — and at least one theater in Northern California relented a few days ago.
The Del Oro Theater / Prime Cinemas in California posted this message on September 12th. This is a paragraph that belongs in a museum of cowardice. It should be a monument to Left-wing censorship, to show to future generations how desperately the Left seeks to censor anything — even a film — that they find objectionable. 
<blockquote>&#8220;Due to the strong reactions from our community (for and against the film), and concerns for the well-being of our staff, we will not be playing the film Am I Racist as originally intended. Please know that it was not our intention to cause such division by playing this film. We noticed that many of the theaters in the Sacramento area were booked to play this film and quite frankly this reaction caught us off guard. The safety of our staff is our number one priority. Please accept our apologies.&#8221;</blockquote>
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As reported by <a href="https://twitter.com/robbystarbuck?ref_src=twsrc%5Etfw">@robbystarbuck</a>, left wing activists are bullying theaters into dropping our film. This theater just issued an apology. 
The only way to stop the Left from shutting down the film is to support the theaters that are showing it. Tickets here: <a href="https://t.co/iJv1cNRoWV">https://t.co/iJv1cNRoWV</a> <a href="https://t.co/JCpR7Ft8tf">pic.twitter.com/JCpR7Ft8tf</a>
&mdash; Matt Walsh (@MattWalshBlog) <a href="https://twitter.com/MattWalshBlog/status/1834633679391408405?ref_src=twsrc%5Etfw">September 13, 2024</a></blockquote>
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So there&#8217;s the usual vague claim that people&#8217;s &#8220;safety&#8221; is in danger if they screen a film that Left-wing activists don&#8217;t like. And in this context, it&#8217;s a pretty ironic claim if you&#8217;ve seen the film. I won&#8217;t spoil anything but suffice it to say, this is such a stock complaint of insane Left-wing activists that it found its way into a prominent scene towards the beginning of &#8220;Am I Racist?&#8221;. And as usual, it doesn&#8217;t stand up to any scrutiny. It&#8217;s a laugh line, actually, because of how melodramatic and neurotic the claim is. No one on the Right is threatening anyone because of this film. This film does not endanger anyone&#8217;s safety. 
<h4><a href="http://www.amiracist.com/" target="_blank" rel="noopener">WATCH THE TRAILER FOR &#8216;AM I RACIST?&#8217; — A MATT WALSH COMEDY ON DEI</a></h4>
What they&#8217;re really suggesting in that theater in Northern California, if that statement means anything at all, is that Left-wing activists might get violent if the film is shown. That&#8217;s the implicit statement that they&#8217;re making, whether they believe it or not. That&#8217;s how enraged these activists are, all because of our film.  They&#8217;re furious because of a documentary that allows the foremost fake experts in DEI to speak, at length, without any unfair editing whatsoever. And they&#8217;re enraged by this conceit for a few reasons. One of them is that the modern Left is intellectually bankrupt. They can&#8217;t defend any of their nonsense with an actual argument, so they have to resort to threats and hysteria.
The other reason they&#8217;re furious is that, right now, we are insurgents in the movie industry. The Left believes that it owns the entire art form of film. I’ve even gotten comments calling me a “grifter” for making this movie. In their world, any conservative who makes a movie must be a con artist running some kind of scam. It can’t possibly be that we love film, too, and want to use it to tell our own stories. That&#8217;s not something that these activists even consider within the realm of possibility. But it&#8217;s the truth. The film industry has been dominated by one ideology for so long that these people have come to expect that every film, and every artistic work in general, will mirror their world view. The Left in Hollywood have maintained a monopoly for a very long time. They&#8217;ve successfully pressured distributors and studios into producing the same narratives over and over again, all in the service of weeding out any semblance of competition. But after the success of &#8220;Am I Racist?,&#8221; it&#8217;s clear that — whether mainstream critics and publications want to hide from it or not —  competition has finally arrived.

Am I Racist?

Why Critics Are Running Scared From My Movie

Am I Racist

Anti-Racism

“<a href="https://www.dailywire.com/topic/am-i-racist">Am I Racist?</a>” star <a href="https://www.dailywire.com/topic/matt-walsh">Matt Walsh</a> posted a lengthy explanation on X detailing responses, or lack thereof, from critics who were sent copies of the film, but refused to <a href="https://www.dailywire.com/topic/film-reviews">review</a> it.
The Daily Wire documentary debuted at number four at the box office alongside major Hollywood productions with much higher production and marketing budgets. “Am I Racist?” currently has a 99% audience rating on Rotten Tomatoes and is Certified Hot on the site’s popcorn meter, which means at least 500 of those reviews come from verified ticket purchasers.
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One of these things is not like the others <a href="https://t.co/4cQVSQXTX2">pic.twitter.com/4cQVSQXTX2</a>
— Matt Walsh (@MattWalshBlog) <a href="https://twitter.com/MattWalshBlog/status/1835685846105686272?ref_src=twsrc%5Etfw">September 16, 2024</a></blockquote>
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<a href="https://www.amiracist.com/">Am I Racist? Is In Theaters NOW — Get Your Tickets Here!</a>
Meanwhile, there is not one review from a mainstream critic.
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9/ &#8220;Am I Racist?&#8221; has been so successful precisely because we didn&#8217;t churn out another safe, predictable Hollywood-style film. If you haven&#8217;t watched the movie that mainstream critics desperately don&#8217;t want you to see, you can get your tickets now: <a href="https://t.co/iJv1cNRoWV">https://t.co/iJv1cNRoWV</a>.
— Matt Walsh (@MattWalshBlog) <a href="https://twitter.com/MattWalshBlog/status/1835822651517870395?ref_src=twsrc%5Etfw">September 16, 2024</a></blockquote>
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Walsh wrote in the post, “Many have asked how it&#8217;s possible that our new film ‘Am I Racist?’ hasn&#8217;t been reviewed by a single mainstream critic, even with a 99% audience score, a ‘Verified Hot’ rating on Rotten Tomatoes, and a top 5 box office debut. Here&#8217;s what&#8217;s happening behind the scenes.”
&#8220;Beginning in mid-August, we reached out to dozens of mainstream outlets, offering an early screener of the film. Those outlets included [Time], [Associated Press], [IndieWire], [Variety], [The Hollywood Reporter], [The New York Times], [The New Yorker], and many others,” the post thread continued. “We followed up to virtual silence.”
“We did, however, receive a flurry of unprofessional emails from independent critics who were enraged we&#8217;d even ask them to review the film. One of them wrote that he won&#8217;t waste any ‘professional time’ on a movie opening in over 1,500 theaters because I was involved,” Walsh wrote alongside a screenshot of the reply.
He also shared a response from another critic who wrote, “You&#8217;d have to strap me to a chair like Malcolm McDowell to get me to watch this thing.&#8221;
Another said, “Ew. Take me off of this list.&#8221;
The X thread went on to say, “After it was clear ‘Am I Racist?’ was a hit, [Variety] attempted to cover for this oversight with a claim that Daily Wire ‘did not screen [the movie] for critics.’ We’ve asked them to correct this, they have not. They still haven’t posted a review, but I hope they do.”
“A few other mainstream outlets have since requested screeners but have yet to publish a review,” Walsh went on. “One major mainstream outlet even acknowledged we had attempted to get them an advance screener but said the film had ‘slipped through the cracks.'&#8221;
“This isn’t a mistake. You’d be hard-pressed to find another film that opened in &gt;1,500 theaters that was completely snubbed by mainstream critics. If ‘Am I Racist?’ were terrible, these outlets could have reviewed it &amp; trashed it. But the reality is they&#8217;re afraid of it,” he continued.
&#8220;&#8216;Am I Racist?’ has been so successful precisely because we didn&#8217;t churn out another safe, predictable Hollywood-style film. If you haven&#8217;t watched the movie that mainstream critics desperately don&#8217;t want you to see, you can get your tickets now: <a href="http://amiracist.com">amiracist.com</a>.”
Walsh concluded by revealing that Rolling Stone was one of the first outlets to request a screener back in July, but noted how they hadn’t posted a review yet. 
The podcast host said he was looking forward to their review “most of all” because of a hit piece they posted on Walsh’s “What Is a Woman?” back in 2022, which was written without the critic ever seeing the film. Walsh shared a screenshot of the movie link sent to that writer showing it was 0% watched.
Several independent reviewers did post their reactions to the movie, which were overwhelmingly positive. YouTube star Jeremy Jahns also posted a review, which resulted in many of his followers openly mocking and unfollowing him, as The Daily Wire previously <a href="https://www.dailywire.com/news/youtuber-jeremy-jahns-ripped-for-daring-to-review-am-i-racist">reported</a>.
“Am I Racist?” is currently available in theaters. Get your tickets now at <a href="http://amiracist.com">amiracist.com</a>.

MixCollage-15-Sep-2024-07-08-AM-5558

Matt Walsh Blasts Critics’ Refusal To Review ‘Am I Racist?’ Despite Its Box Office Success

Critics

Despite <a href="https://www.dailywire.com/topic/matt-walsh">Matt Walsh</a>’s documentary “<a href="https://www.dailywire.com/topic/am-i-racist">Am I Racist?</a>” being the number four film at the box office over its opening weekend and outperforming major Hollywood productions, <a href="https://x.com/mattwalshblog/status/1835822639312461971?s=46&amp;t=5nB3R1hthzMlYMrXjZyN8Q">mainstream critics</a> have completely ignored its existence. 
Reviewer Jeremy Jahns, who has almost 2 million <a href="https://www.dailywire.com/topic/youtube">YouTube</a> subscribers, was accused of being racist and attacked on social media after daring to post his reaction to his channel.
“The Left has labeled Jeremy Jahns a racist and a sell out simply for reviewing my film,” Walsh posted to X on Monday.  “This is how they play the game. Viciously denounce anyone who positively acknowledges the existence of the film so that other critics will be too afraid to follow suit.
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The Left has labeled Jeremy Jahns a racist and a sell out simply for reviewing my film. This is how they play the game. Viciously denounce anyone who positively acknowledges the existence of the film so that other critics will be too afraid to follow suit. <a href="https://t.co/MrVe3Y2ho6">pic.twitter.com/MrVe3Y2ho6</a>
&mdash; Matt Walsh (@MattWalshBlog) <a href="https://twitter.com/MattWalshBlog/status/1835766259536855466?ref_src=twsrc%5Etfw">September 16, 2024</a></blockquote>
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He included a post <a href="https://x.com/mjarbo/status/1835382105909731515">reaction</a> from Matt Jarbo, host of the podcast Hollywood After Dark, that said, “Midlife crisis Jeremy Jahns is not the villain origin story I was expecting.”
“Jeremy Jahns has always sucked. It’s amazing people valued his opinion at all. Him being a racist and a centrist coward is not surprising in the slightest,” another <a href="https://x.com/ILikeJustinG/status/1835491272095658475">said</a>.
“Confirmed racist,” a third person agreed.
“I can&#8217;t think for the life of me why Jeremy Jahns would shine a light on a person like Matt Walsh and ‘give him a shake’ except that Jahns got a juicy offer from the Daily Wire in the form of connections or payments or some other form of transaction,” a fourth <a href="https://x.com/blaze91610/status/1835463842207248844">wrote</a>. 
Jahn’s review of “Am I Racist?” on YouTube has more than 400,000 views. He starts off the video saying he intitally thought, “Maybe I should just skip this one,” but ultimately decided to see and review the movie. “The fact that that entered my mind is kind of one of the points this movie makes,” he explained.
The critic said he had heard “Am I Racist?” being described as a “Conservative Borat” and decided to watch it because the movie was available in theaters. He said he appreciated Walsh’s method of asking a lot of questions in the film.
“Matt Walsh is surprisingly funny,” Jahns added.
The reviewer said the movie made him laugh and it made him think, especially during scenes of regular people not living in the bubble who had no idea what Walsh was talking about when he started using terminology that’s common among DEI activists and allies. 
“I thought, interesting questions or counter examples worth asking or presenting were presented,” Jahns said. “Are these experts with their workshops and their books really trying to heal the world, make it a better place, or are they perpetuating the problem, keeping it around, because they found something to monetize?”
Jahns concluded to say that all in all, he had a “good time and some good laughs” while watching “Am I Racist?”
The film currently has a 99% audience score on Rotten Tomatoes and no critic&#8217;s score. “Am I Racist?” is <a href="https://www.amiracist.com/?_gl=1*1orjxp8*_gcl_aw*R0NMLjE3MjE3NTYxNzAuQ2p3S0NBandxZjIwQmhCd0Vpd0F0N2R0ZFgyTkE1Z3RmazgwZXNuY1QyRVVvMXBOZEhxRzAwdWRGS0ozTFMzWWNsUzVnVkswSmFtdTlCb0M5R1FRQXZEX0J3RQ..*_gcl_au*MTU5NzI4NjQ0Ny4xNzIxMTYzNDAz*_ga*MTY5NTQ0MDk1Ny4xNzIxMTYzNDAz*_ga_CZKR9ZYKJP*MTcyNjMzMzM0Ni4xMDEuMS4xNzI2MzM0NDQyLjU5LjAuMA..">now playing</a> at theaters nationwide.

Jeremy Jahns

YouTuber Jeremy Jahns Ripped For Daring To Review ‘Am I Racist?’

YouTuber Jeremy Jahns Ripped For Daring To Review 'Am I Racist?'

YouTube

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