In a feel-good moment for movie fans, it was announced on Wednesday that puppeteer James Ortiz is eligible for a Best Supporting Actor award at next year’s Oscars, per <a href="https://variety.com/2026/film/awards/project-hail-mary-james-ortiz-oscars-sag-eligible-puppeteer-1236726540/">Variety</a>. Ortiz was the puppeteer and voice actor for the rock-shaped alien, Rocky, who became one of the best-loved parts of Amazon’s smash hit “Project Hail Mary” last month.
The film is expected to garner plenty of other nominations at the next Academy Awards, including Best Actor for Ryan Gosling, Best Picture, and Best Director. There’s no telling if the Academy will select Ortiz as a nominee even though he is technically eligible.
Variety also noted that his work could be recognized in the Special Achievement Award category, which was last given to “Toy Story” (1995).
“Typically, we talk about puppetry as a technical achievement, and it is,” Ortiz told the outlet.
“It’s a spectacle,” he added. “For me as a performer, however, that’s never my entry point. I’m interested in the heart of the character — what they’re trying to communicate, what they’re feeling underneath all of it. When we can take a medium like puppetry, which is often seen as decorative, and bring to life a character with a beating heart in a way that genuinely affects people, then we’re doing something truly meaningful.”
Ortiz previously discussed how much expertise and planning went into bringing Rocky to life. Fans of the film praised its overall authenticity, which included using a real puppet rather than relying on CGI.
“Rocky is super intelligent and has a mind like a computer — you never have to say anything twice to him,” Ortiz said of the character. “He’s a brilliant engineer. But his soul, to me, always felt like that of a little brother. There’s a little bit of this anxious, 14-year-old boy who really wants to be invited to the party.”
“What I loved about the process was at no point did [directors Phil Lord and Christopher Miller] or anybody on the team ever treat me like I was a technician, or like a plumber who was brought in to fix a specific thing,” the puppeteer added. “At every point they would ask, ‘what do you think, would Rocky do this or that?’ And I’d think about it and tell them exactly how Rocky would feel.”
“Project Hail Mary” <a href="https://www.dailywire.com/news/hollywood-learned-the-wrong-lesson-from-project-hail-mary">dominated the box office</a> last month with an $80.5 million domestic opening weekend, with a 95% critic score and a 96% audience score on Rotten Tomatoes. By the second weekend, the film had crossed $300 million worldwide and became the second-biggest non-franchise opening over the past decade, second only to “Oppenheimer.”

Rocky

Everyone’s Favorite Alien Could Win An Oscar

Academy Awards

Entertainment

Hollywood

Movies

Oscars

U.S.

The monoculture is dead, The Hollywood Reporter claims. Its evidence? No one watches the Oscars anymore. An article over the weekend, “The Last Time Everyone Watched the Same Thing,” highlighted the last moment everyone shared: a selfie that Bradley Cooper took at the 2014 Oscars, which instantly became the most widely-shared Tweet ever.
More than 43 million people witnessed that act of elite digital solipsism. But we should be asking: Does an iPhone snapshot that includes Ellen DeGeneres and Kevin Spacey really indicate some sort of peak? Or was it so self-absorbed and off-putting that it actually hastened a cultural shift? Whether consciously or not at the time, Americans saw that moment and thought, “This is bullsh*t.” After all, the number-one show at the time was The Big Bang Theory, which had something like 23 million weekly viewers, a sitcom about geniuses, but made for dumb people, or at least people that Hollywood thought were dumb. Good riddance, and don’t let the door hit you in the bazinga on the way out.
Look at what happened when Hollywood took one last stab at uniting us all when COVID hit. That was the age of Tiger King, a terrible documentary reality show that baked its own obsolescence into its premise. Sure, everyone watched it, but only because public entities and massive peer pressure terrified them into staying indoors.
But the ultimate mask-off moment occurred with Gal Gadot’s “Imagine” video, which just celebrated its sixth birthday. It was the cringiest thing ever created: entitled celebrities singing a dated folk song while normal people grieved the losses of loved ones, their jobs, or their regular daily routines. That was just the start of the 2020 crap parade, the worst cultural period in global history, which featured charity cast “table reads” of 1980s comedies like Fast Times at Ridgemont High and a video of Katy Perry singing “Baby Mine” from Dumbo while dressed in an elephant costume. Faced with this tsunami of garbage, people watched reruns of Columbo and Friends instead and said, &#8220;Take this monoculture and shove it.”
The traditional pipeline stopped producing. Our entertainment became YouTube and Instagram videos of people cooking stuff they’d found in the garbage. And it was fine.
Then again, maybe the article’s entire premise is flawed. The “monoculture” might actually still exist. It’s just that old metrics, like Nielsen ratings and box office grosses, don’t tell the whole story. The Hollywood Reporter mentions Stranger Things, but what about Squid Game? Or Mr. Beast? The Minecraft movie was a massive cultural phenomenon, as were the Super Mario Bros. films. If the monoculture is dead, then how did KPop Demon Hunters take over the Oscars this year?
Let’s not denigrate the traditional monoculture era. It brought us Back to the Future, Raiders of the Lost Ark, The Empire Strikes Back, Cheers, the golden age of The Simpsons, Yo! MTV Raps, Seinfeld, Thriller, Legally Blonde, and many other entertainment products serving infinite pleasure. All that material is still out there, swirling around, and much of it is still watchable and good. Young people still listen to ’80s music and know what a flux capacitor is; they can still pick Donkey Kong out of a police lineup. It’s just that we’re not all watching the same thing all the time. As the title of an Oscar-winning movie — which was not part of the monoculture — goes, it’s everything, everywhere, all at once.
Besides, we don’t all need to be watching the same thing. The era when 90 million or so people saw BJ say “Goodbye” to Hawkeye on M.A.S.H. is more distant from today’s reality than V-J Day was from the 1970s. It has no relevance. Our world is more atomized, more diverse, and less dependent on traditional gatekeepers than ever. Maybe the death of the monoculture is a good thing. Imagine.
***
Neal Pollack is the author of 12 semi-bestselling books of fiction and nonfiction and is a three-time Jeopardy! champion.

86th Annual Academy Awards – Show

If The Monoculture Is Dead, Should We Be Cheering Its Demise?

Culture

DW Opinion

The Apple TV series “The Savant,” which was postponed in the wake of Charlie Kirk’s assassination, is now apparently going to have its debut.
The series was scheduled to premiere in September 2025, but that all changed after Kirk was shot during a speaking event at Utah Valley University. “The Savant” follows an undercover investigator, Jodi Goodwin (Jessica Chastain), who infiltrates online hate groups in an attempt to curtail mass terror attacks.
Because this is Hollywood, the main character, who is based on a real person, mostly hunts for woman-hating white supremacists. Daily Wire contributor Christian Toto <a href="https://www.dailywire.com/news/we-watched-appletvs-cancelled-political-drama-its-clear-why-they-pulled-it">previewed</a> the series and said it was “ripped from a progressive’s fever dream, a tale completely disconnected from today’s headlines.”
“Before it was like, ‘I don’t know if we’re going to see it,’ but now I can say, ‘We’re going to see it,” Chastain <a href="https://variety.com/2026/tv/columns/jessica-chastain-apple-tv-finally-release-the-savant-after-postponement-charlie-kirk-assassination-1236725384/">told</a> Variety at an event on Saturday night. The outlet did not confirm an exact date, but they reported that inside sources said it would happen in July.
Apple TV announced the postponement on September 23. Chastain, who is an executive producer, posted on Instagram the following day that she did not agree with Apple TV&#8217;s decision to pull the show due to Kirk’s assassination. 
“In the last five years since we’ve been making the show, we’ve seen an unfortunate amount of violence in the United States,” she <a href="https://www.dailywire.com/news/apple-postpones-drama-on-political-mass-shootings-following-charlie-kirk-assassination">wrote</a> on social media at the time before going on to list various events, including January 6 and the assassination attempts on President Donald Trump. 
“These incidents, though far from encompassing the full range of violence witnessed in the United States, illustrate a broader mindset that crosses the political spectrum and must be confronted. I’ve never shied away from difficult subjects, and while I wish this show wasn’t so relevant, unfortunately it is. ‘The Savant’ is about the heroes who work every day to stop violence before it happens, and honoring their courage feels more urgent than ever.”

The_Savant_Photo_010301

Leftist ‘Fever Dream’ Series Plows Ahead Despite Massive Conservative Backlash

Apple

Charlie Kirk

Political Violence

Television

Woke Hollywood is dead, or so we thought.
The new trailer for “Ladies First” is proof that La La Land won’t give up the woke ghost.
Sacha Baron Cohen, who traded his subversive “Borat” shtick for the <a href="https://www.hollywoodintoto.com/borat-subsequent-moviefilm-review/">anti-Trump Resistance</a>, stars as a chauvinist who suffers a blow to the head and wakes up in a new reality.
Forget the patriarchy. The matriarchy now runs things in this May 22 Netflix original. The laugh-free trailer is bad enough, but the sight of Borat leaning into feminist clichés is worse.
And it’s far from alone. That “woke mind virus” is on the comeback trail.
<div id="attachment_1080199" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-1080199" class="size-large wp-image-1080199" src="https://dw-wp-production.imgix.net/2026/04/Ladies-Night-864x576.jpg" alt="Rob Youngson/Netflix - copyright 2026 Netflix, Inc." width="864" height="576" srcset="https://dw-wp-production.imgix.net/2026/04/Ladies-Night-864x576.jpg 864w, https://dw-wp-production.imgix.net/2026/04/Ladies-Night-300x200.jpg 300w, https://dw-wp-production.imgix.net/2026/04/Ladies-Night-768x512.jpg 768w, https://dw-wp-production.imgix.net/2026/04/Ladies-Night-1536x1024.jpg 1536w, https://dw-wp-production.imgix.net/2026/04/Ladies-Night-1800x1200.jpg 1800w, https://dw-wp-production.imgix.net/2026/04/Ladies-Night-1200x800.jpg 1200w, https://dw-wp-production.imgix.net/2026/04/Ladies-Night.jpg 2048w" sizes=" (max-width: 864px) 100vw, 864px" />Rob Youngson/Netflix &#8211; copyright 2026 Netflix, Inc.</div>
The proof that woke was on the run felt substantial. Real. Refreshing. Comedians were suddenly able to speak their minds without fear of reprisal. Comedy roasts made a shocking comeback, and Netflix couldn’t wait to line up rebel comics like Tony Hinchcliffe, Tim Dillon, Ricky Gervais and Shane Gillis for new projects.
Disney, the unofficial woke standard bearer, dialed down the messaging machine. The Disney+ series “Win or Lose” ditched a trans character. Big-budget releases like “Moana 2” and “Inside Out 2” left the lectures on the cutting room floor — and scored huge box office numbers along the way.
More recently, Disney-owned Pixar chief Pete Docter said his company <a href="https://variety.com/2026/film/news/pete-docter-pixar-lgbtq-storyline-elio-therapy-1236681692/">removed LGBTQ content</a> from 2025’s “Elio” because “We’re making a movie, not hundreds of millions of dollars of therapy.”
Lesson learned. Or was it?
<div id="attachment_1080169" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-1080169" class="size-large wp-image-1080169" src="https://dw-wp-production.imgix.net/2026/04/GettyImages-2219557935-864x576.jpg" alt="LOS ANGELES, CALIFORNIA - JUNE 10: (L-R) Jim Morris, President, Pixar and Pete Docter, CCO, Pixar attend the World Premiere of Disney and Pixar's &quot;Elio&quot; at El Capitan Theatre on June 10, 2025 in Los Angeles, California. (Photo by Jesse Grant/Getty Images for Disney/Pixar)" width="864" height="576" srcset="https://dw-wp-production.imgix.net/2026/04/GettyImages-2219557935-864x576.jpg 864w, https://dw-wp-production.imgix.net/2026/04/GettyImages-2219557935-300x200.jpg 300w, https://dw-wp-production.imgix.net/2026/04/GettyImages-2219557935-768x512.jpg 768w, https://dw-wp-production.imgix.net/2026/04/GettyImages-2219557935.jpg 1024w" sizes=" (max-width: 864px) 100vw, 864px" />Jesse Grant/Getty Images for Disney/Pixar</div>
That “Ladies First” trailer feels like it came from a 2020 time capsule. So does “Starfleet Academy.” The latest “Star Trek” TV show got roundly mocked on social media and by YouTube cutups like Nerdrotic and The Critical Drinker, who combined have millions of followers.
The show featured a charcuterie board full of woke, from the barefoot captain curling up in her chair like a Portland librarian to a gay, cross-dressing Klingon.
Mainstream critics, who lean aggressively to the Left, praised the show while audiences stayed away in droves. The show’s second season was set in motion immediately, but the <a href="https://variety.com/2026/tv/news/star-trek-starfleet-academy-canceled-season-2-1236696816/">cancellation news came nearly as fast.</a>
Hulu just dropped a new mini-season of “Malcolm in the Middle,” the early 2000s hit about a quirky, dysfunctional clan. The streamer knew it had a nostalgia-fueled hit on its hands, which may be why <a href="https://www.dailywire.com/news/malcolm-in-the-middle-reboot-hit-with-backlash-over-woke-changes">the creators gave</a> the clan Kelly, a “non-binary” child.
Just a coincidence? Hardly. Executive producer Tracy Katsy told Deadline.com the <a href="https://deadline.com/2026/04/malcolm-in-the-middle-creator-ep-wife-lgbtq-kids-1236786214/">reason for the inclusion angle</a>.
“Three out of four of our kids are queer, and without making it a thing and without making an issue, I think it’s really nice to have a character that, that’s just a facet of their personality as opposed to the entire story.”
<div id="attachment_1080171" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-1080171" class="size-large wp-image-1080171" src="https://dw-wp-production.imgix.net/2026/04/GettyImages-2270286421-864x576.jpg" alt="NEW YORK, NEW YORK - APRIL 07: (L-R) Christopher Masterson, Justin Berfield, Vaughan Murrae, Jane Kaczmarek, Frankie Muniz, Bryan Cranston, Keeley Karsten, Kiana Madeira, Caleb Ellsworth-Clark, Emy Coligado and Craig Lamar Traylor attend Hulu's &quot;Malcolm in The Middle: Life's Still Unfair&quot; New York Premiere at DGA Theater on April 07, 2026 in New York City. (Photo by Theo Wargo/Getty Images)" width="864" height="576" srcset="https://dw-wp-production.imgix.net/2026/04/GettyImages-2270286421-864x576.jpg 864w, https://dw-wp-production.imgix.net/2026/04/GettyImages-2270286421-300x200.jpg 300w, https://dw-wp-production.imgix.net/2026/04/GettyImages-2270286421-768x512.jpg 768w, https://dw-wp-production.imgix.net/2026/04/GettyImages-2270286421.jpg 1024w" sizes=" (max-width: 864px) 100vw, 864px" />Theo Wargo/Getty Images</div>
The diversity measure came with the de facto lecture sequence, too, along with the Mary Sue-style characterization.
Kelly uses &#8220;they/them&#8221; and is depicted as academically gifted, level-headed, and notably the only sibling without a police record.
No flaws, please. That’s another woke byproduct, removing flaws from characters meant to promote diversity and inclusion.
The show also made Stevie (Craig Lamar Traylor), who displayed heterosexual characteristics in the original series, a gay man in an interracial relationship.
The new action comedy “Normal” also squeezes a “non-binary” character into the story, played by Jess McLeod. The character, dubbed Alex, is given little backstory or depth, but Alex still plays a sizable role in the film’s second half.
This year’s “Frankenstein” reinvention, dubbed “The Bride!” featured a cavalcade of woke talking points. The titular creature inspired a wave of rebellious women fighting back against early 20th century oppression, and Jessie Buckley’s Bride literally shouts, “Me too” … twice.
And, yes, “The Bride!” may be one of 2026’s biggest box office busts with <a href="https://www.boxofficemojo.com/title/tt30851137/?ref_=bo_se_r_1">a pathetic $12 million domestic haul.</a>
Woke isn’t just about forced, clumsy inclusion. It coaxes screenwriters to lecture viewers from a hard-Left perspective. No nuance or balance, please. There’s a PowerPoint-style message to share. It’s why shows like “Matlock” and “The Pitt” have spent serious screen time pushing an <a href="https://www.dailywire.com/news/hollywood-keeps-pushing-this-narrative-but-ignores-what-follows">aggressive, anti-ICE narrative</a> in recent weeks.
“The Pitt” also promotes an unabashed, pro-abortion agenda. The HBO Max series featured an episode with a 17-year-old pregnant teen (Abby Ryder Fortson) seeking an abortion, but she didn’t have her parents’ consent.
<div id="attachment_1080173" style="width: 1034px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-1080173" class="size-large wp-image-1080173" src="https://dw-wp-production.imgix.net/2026/04/pitt-noah-elevator-1024x568.jpg" alt="John Wells Productions. Max. R. Scott Gemmill Productions. Sky Studios. Warner Bros. Television. HBO Max." width="1024" height="568" srcset="https://dw-wp-production.imgix.net/2026/04/pitt-noah-elevator-1024x568.jpg 1024w, https://dw-wp-production.imgix.net/2026/04/pitt-noah-elevator-300x166.jpg 300w, https://dw-wp-production.imgix.net/2026/04/pitt-noah-elevator-768x426.jpg 768w, https://dw-wp-production.imgix.net/2026/04/pitt-noah-elevator-1536x851.jpg 1536w, https://dw-wp-production.imgix.net/2026/04/pitt-noah-elevator.jpg 2048w" sizes=" (max-width: 1024px) 100vw, 1024px" />John Wells Productions. Max. R. Scott Gemmill Productions. Sky Studios. Warner Bros. Television. HBO Max.</div>
The baby in question is more than 11 weeks along, just beyond Pennsylvania’s cutoff for a legal abortion. Dr. Robby (Noah Wyle) stepped in, offering to fudge the facts to secure the abortion in question. The doctors agreed that the teen deserves to have a life, as they framed it, ignoring the positive impacts of motherhood or potentially giving up the innocent baby for adoption.
The creative team behind “The Pitt” is leaning into the show’s ratings success, weaponizing the saga to advance leftist talking points as needed. It’s another familiar woke pattern — Hollywood finds success with an apolitical show or film, and later leverages that appeal to insert woke talking points.
One glaring example? Even a far-Left site like <a href="https://www.themarysue.com/endgame-girl-power-did-it-work/">TheMarySue.com cringed</a> when the once-mighty Marvel Cinematic Universe included a clunky, “girl power” moment during the epic “Avengers: Endgame” battle.
The MCU saga went woke thereafter and has yet to recover, financially speaking.
Despite these stark examples, woke isn’t the cultural force in Hollywood that it was just a few short years ago. Some savvy studio types realized that its cultural tentacles remain a financial risk, to put it bluntly.
Others are like <a href="https://www.bbc.com/culture/article/20220413-onoda-the-man-who-hid-in-the-jungle-for-30-years">Hiroo Onoda</a>, the Japanese soldier who kept fighting World War II for nearly 29 years after hostilities ceased.
That means it could take a few more high-profile failures for Hollywood to finally learn its lesson.
* * *
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>.

netflix ladies night II

Woke Hollywood Rises From The Ashes — And The Agenda Didn’t Miss A Beat

Woke Hollywood Rises From The Ashes — And The Agenda Didn't Miss A Beat

Diversity Equity and Inclusion (DEI)

HBO Max

Netflix

Woke Culture

More than 1,000 celebrities, many of whom are overwhelmingly leftist, expressed their “unequivocal opposition” to the upcoming merger between Warner Bros. and Paramount.
Actors Bryan Cranston, Alyssa Milano, Cynthia Nixon, Jane Fonda, Kathy Griffin, Rosie O’Donnell, Glenn Close, Ben Stiller, Don Cheadle, Jason Bateman, and Ted Danson added their names to the letter, along with big-name directors like J.J. Abrams, David Chase, and Denis Villeneuve.
“This transaction would further consolidate an already concentrated media landscape, reducing competition at a moment when our industries — and the audiences we serve — can least afford it,” the <a href="https://blockthemerger.com/openletter">letter</a> says. “The result will be fewer opportunities for creators, fewer jobs across the production ecosystem, higher costs, and less choice for audiences in the United States and around the world. Alarmingly, this merger would reduce the number of major U.S. film studios to just four.”
It goes on, “We are deeply concerned by indications of support for this merger that prioritize the interests of a small group of powerful stakeholders over the broader public good. The integrity, independence, and diversity of our industry would be grievously compromised.”
The letter ends with a call to action, namely that California Attorney General Rob Bonta and other regulators block the deal.
Paramount released a <a href="https://deadline.com/2026/04/paramount-warner-bros-merger-creatives-letter-1236859235/">response</a> Monday morning. They promised to “create a company that can greenlight more projects, back bold ideas, support talent across multiple stages of their careers, and bring stories to audiences at a truly global scale.”
“We hear and understand the concerns that some in our creative community have raised and respect the commitment to protecting and expanding creativity,” their letter states. 
“We understand the concerns raised as a result of the disruptions caused to our industry by COVID, entry of big-tech, and changes in consumer behavior, but we promise this: Paramount remains deeply committed to talent, and this merger strengthens both consumer choice and competition, creating greater opportunities for creators, audiences, and the communities they live and work in.”
Warner Bros. agreed in December to an $82.7 billion deal with Netflix. Paramount responded with several hostile takeover bids over the following months, culminating in a surprise twist as the streaming giant bowed out in February.
“… this transaction was always a ‘nice to have’ at the right price, not a ‘must have’ at any price,” Sarandos and Netflix co-CEO Greg Peters said in a statement at the time, as The Daily Wire previously <a href="https://www.dailywire.com/news/netflix-backs-down-in-fight-for-warner-bros-leaving-paramount-inches-from-victory">reported</a>.

Paramount

Woke Hollywood Stars Rally To Kill Major Studio Deal

Celebrities

Warner Bros

“Malcolm in the Middle” fans are trashing the series reboot, saying it went totally woke to the point of including a “non-binary” child, among other crimes against the original.
The shoehorning of modern leftist elements into a beloved series should come as no surprise, especially since it’s coming from a company like Disney, which now owns the show through its acquisition of 21st Century Fox, the studio behind the original.
“Malcolm in the Middle: Life’s Still Unfair” debuted four back-to-back episodes on Friday, and due to the busy schedules of the cast, there won’t be any more. The latest episodes follow the titular star (played by Frankie Muniz) after he’s all grown up and has grown apart from his family. 
The original series, which ran from 2000 to 2006, focused on Malcolm, an exceptionally intelligent child who made his way through life with a dysfunctional family. The sitcom was a massive hit, winning seven Emmy Awards and attracting a cult following.
It ended with family matriarch Lois (Jane Kaczmarek) finding out she’s pregnant. “Breaking Bad” star Bryan Cranston played the dad, and reprises his role in “Life’s Still Unfair,” too. Their surprise child, Kelly, is a teenager in the new version and uses they/them pronouns. The actor playing the part, Vaughan Murrae, identifies as &#8220;non-binary&#8221; in real life, too. Stevie Kenarban, who was Malcolm&#8217;s best friend in the original series, is depicted as gay in the reboot.
Many fans are not happy about the changes. 
“So. Disney brings Back [‘Malcolm in the Middle’], which ended decades ago with a proper send off. They made Stevie gay, despite him crushing on Malcolm’s babysitter, pretending to be in critical condition to get another girl to like him, there’s stacking amounts of evidence proving he likes girls,” one popular reaction on X <a href="https://x.com/anime_esh202/status/2043078136976273667?s=43">says</a>. 
“And the child Hal and Lois had at the very end is, wait for it……..non binary. If you had even a shred of hope that you were going to ‘relive the glory days’ you were kidding yourself… Don’t waste your time, it’s modern Disney being modern Disney again, and again, and again!”
“What a disgusting, soul-crushing disappointment,” another viral reaction <a href="https://x.com/FloppingAces/status/2042954425137009066">said</a>. “It&#8217;s absolute trash. No laughs. No chaos. No nostalgia. Just four episodes of pointless, preachy slop that feels like it was written by a committee of blue-haired Disney interns who hate straight families and actual comedy.”
“Woke isn&#8217;t gone. It&#8217;s just suppressed for the moment,” another person <a href="https://x.com/IamSvented/status/2043008792191816182">agreed</a>. “They will be back the moment they get the political support they need, and they will be angry, and they will be in full-on retribution mode.”
Show creator Linwood Boomer and his wife, executive producer Tracy Katsky, said they drew inspiration from their personal lives. 
“I gotta tell you, it’s a really important thing to us,” Katsky <a href="https://deadline.com/2026/04/malcolm-in-the-middle-creator-ep-wife-lgbtq-kids-1236786214/">told</a> Deadline during a recent interview just ahead of the reboot’s premiere. 
“Three out of four of our kids are queer, and without making it a thing and without making an issue, I think it’s really nice to have a character that, that’s just a facet of their personality as opposed to the entire story.”

Life’s Still Unfair

‘Malcolm In The Middle’ Reboot Hit With Backlash Over ‘Woke’ Changes

Bryan Cranston

Disney

Non-binary

Wokeness

Some belated sequels crash and burn on arrival. Think “Zoolander 2,” “Blues Brothers 2000,” “Terminator: Dark Fate” and “Independence Day: Resurgence.”
All duds or box office disappointments.
“The Devil Wears Prada 2” won’t suffer that fate, despite the 20-year gap between the two films. In fact, the sequel might mimic another recent blockbuster that lured women back to theaters in droves.
The 2023 smash “Barbie.”
That film wasn’t just a box office juggernaut. It convinced women to dress up in the grand Barbie tradition to enjoy the experience with their best gal pals. It became a cultural flashpoint, a chance to bond over childhood memories and sisterhood.
Will “Prada 2” be a spiritual sequel to that mega-hit?
<div id="attachment_1076167" style="width: 399px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-1076167" class="size-large wp-image-1076167" src="https://dw-wp-production.imgix.net/2026/04/Prada-2-389x576.jpg" alt="Photo by 20th Century Studios/20TH CENTURY STUDIOS - copyright: 2026 20th Century Studios. All Rights Reserved. IMDB." width="389" height="576" srcset="https://dw-wp-production.imgix.net/2026/04/Prada-2-389x576.jpg 389w, https://dw-wp-production.imgix.net/2026/04/Prada-2-202x300.jpg 202w, https://dw-wp-production.imgix.net/2026/04/Prada-2-768x1138.jpg 768w, https://dw-wp-production.imgix.net/2026/04/Prada-2-1037x1536.jpg 1037w, https://dw-wp-production.imgix.net/2026/04/Prada-2.jpg 1086w" sizes=" (max-width: 389px) 100vw, 389px" />Photo by 20th Century Studios. All Rights Reserved.</div>
The safest bet is “absolutely.” Box Office Pro predicts the sequel will <a href="https://www.boxofficepro.com/long-range-forecast-may-box-office-kicks-off-with-the-devil-wears-prada-2-animal-farm-hokum/">land in the $80-95 million range</a>, a hefty debut for a comedy. Word of mouth might do the rest.
For contrast, the original scored $27.5 million over a Fourth of July weekend.
Why the optimism? Let’s start with the film’s first teaser, which didn’t share much in its brief running time. The <a href="https://www.youtube.com/watch?v=PMd1at7OwiE">under-60 second</a> clip became last year&#8217;s <a href="https://www.forbes.com/sites/maryroeloffs/2025/12/24/anticipated-sequels-and-remakes-dominated-the-years-most-watched-movie-trailers/">most viewed trailer</a>, more than sneak peeks at “Sinners,” “Superman” or “A Minecraft Movie.”
That’s despite the original film’s solid but hardly massive $124 million at the U.S. box office (globally, it brought in a hefty $323 million). Yet we had to wait 20 years for a sequel, despite the rising star status of featured players Anne Hathaway (as put-upon assistant Andy) and Emily Blunt as the exasperated Emily.
A new Fandango poll shows “Prada 2” as <a href="https://www.instagram.com/p/DW4NzTbCZfA/">the third most anticipated film of the summer</a>, behind “Toy Story 5” and “Spider-Man: Brand New Day.”
The sequel reunites them with Oscar-winner Meryl Streep as the venomous Miranda Priestly and Stanley Tucci. The May 1 release finds Miranda struggling to keep up with the digital age, something that wasn’t a major issue in the original yarn inspired by Lauren Weisberger’s bestselling novel.
<div id="attachment_1076173" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-1076173" class="size-large wp-image-1076173" src="https://dw-wp-production.imgix.net/2026/04/Prada-2-1-864x576.jpg" alt="Photo by 20th Century Studios/20TH CENTURY STUDIOS - copyright: 2026 20th Century Studios. All Rights Reserved. IMDB." width="864" height="576" srcset="https://dw-wp-production.imgix.net/2026/04/Prada-2-1-864x576.jpg 864w, https://dw-wp-production.imgix.net/2026/04/Prada-2-1-300x200.jpg 300w, https://dw-wp-production.imgix.net/2026/04/Prada-2-1-768x512.jpg 768w, https://dw-wp-production.imgix.net/2026/04/Prada-2-1-1536x1024.jpg 1536w, https://dw-wp-production.imgix.net/2026/04/Prada-2-1-1800x1200.jpg 1800w, https://dw-wp-production.imgix.net/2026/04/Prada-2-1-1200x800.jpg 1200w, https://dw-wp-production.imgix.net/2026/04/Prada-2-1.jpg 2048w" sizes=" (max-width: 864px) 100vw, 864px" />Photo by 20th Century Studios. All Rights Reserved. IMDB.</div>
The marketing team behind the sequel is keeping most of the details under wraps, a wise move.
The sequel does expand the original cast, adding Kenneth Branagh, “Bridgerton’s” Simone Ashley, Lucy Liu, Justin Theroux, B.J. Novak and Pauline Chalamet.
So why is “The Devil Wears Prada 2” not a sign of Hollywood desperation but a sly acknowledgement of what audiences crave?
Some movies simply grow over the years, boosted by streaming access and stories that speak to something profound within us.
The technology in the original “Prada” may be dated — remember that screeching pager tune whenever Miranda needed Andy’s help? The themes, by contrast, are timeless.
“The Devil Wears Prada” nailed the hopes and dreams of young women who flirt with a brand of fame that can be intoxicating. Andy didn’t care about fashion until she worked within the industry 24/7. And, when she got her hands on some of the clothes collecting in her company’s closet, she was hooked.
And she looked fabulous.
Audiences got lost in Andy’s “Pygmalion”-like makeover. We’ll look past the running gag that Andy was both frumpy and overweight at the film’s start. Hathaway has always been lithe and lovely.
<div id="attachment_1076201" style="width: 879px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-1076201" class="size-large wp-image-1076201" src="https://dw-wp-production.imgix.net/2026/04/Prada-2006-869x576.jpg" alt="Copyright: TM and2006 Twentieth Century Fox. All rights reserved." width="869" height="576" srcset="https://dw-wp-production.imgix.net/2026/04/Prada-2006-869x576.jpg 869w, https://dw-wp-production.imgix.net/2026/04/Prada-2006-300x199.jpg 300w, https://dw-wp-production.imgix.net/2026/04/Prada-2006-768x509.jpg 768w, https://dw-wp-production.imgix.net/2026/04/Prada-2006-1536x1019.jpg 1536w, https://dw-wp-production.imgix.net/2026/04/Prada-2006.jpg 2048w" sizes=" (max-width: 869px) 100vw, 869px" />Copyright: TM and2006 Twentieth Century Fox. All rights reserved.</div>
And as much as the Left wants to deny biology, women by and large want to look beautiful in the best fashions possible. It’s why those “Sex and the City” films featured Carrie Bradshaw luxuriating in that monstrous, overstuffed closet.
It’s pure escapism.
Plus, we’ve all had bosses as demanding as Streep’s Miranda Priestly, even if they couldn’t chill us with one withering look. Yes, she was a monster, but who couldn’t admire her drive, talent and ruthless efficiently? It helped that Streep’s performance epitomized the power of the softly spoken villain.
She could destroy someone with a lifted eyebrow or well-manicured insult. The fact that Andy survived her chronic attacks, growing stronger by the day, proved intoxicating.
And then there’s poor Adrien Grenier. He played Hathaway’s frustrated beau in the original film, but he won’t be back for an encore. Could the <a href="https://www.buzzfeed.com/morganmurrell/anne-hathaway-responded-devil-wears-prada-nate-theory">negative memes</a> around his character be to blame? Or the fact that Grenier opted out of Hollywood, Inc. in the intervening years following his “Entourage” closeup?
That’s showbiz. So is Hollywood’s occasional ability to give audiences what they want. Yes, the industry will crank out woke reboots and insult audiences when they’re summarily rejected.
See “Starfleet Academy” for Exhibit A.
Nostalgia still sells, and movie studios know it. The original “Prada” arrived at a time when culture war battles didn’t distract us from our daily lives. The film lacked the gerrymandered diversity casting we too often see today.
No lectures. No “you go, girl” feminist talking points to stop the movie cold. Andy struggled with being Miranda’s assistant, but her intelligence and wit eventually made her an invaluable part of the Runway magazine team.
But did she sell her soul in the process? Her beau thought so, but audiences had her back from start to finish.
And they’ll have it again soon enough.
<div id="attachment_1076185" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-1076185" class="size-large wp-image-1076185" src="https://dw-wp-production.imgix.net/2026/04/GettyImages-2270419682-864x576.jpg" alt="SEOUL, SOUTH KOREA - APRIL 08: Meryl Streep attends &quot;The Devil Wears Prada 2&quot; Seoul Premiere at Times Square on April 08, 2026 in Seoul, South Korea. (Photo by Han Myung-Gu/WireImage)" width="864" height="576" srcset="https://dw-wp-production.imgix.net/2026/04/GettyImages-2270419682-864x576.jpg 864w, https://dw-wp-production.imgix.net/2026/04/GettyImages-2270419682-300x200.jpg 300w, https://dw-wp-production.imgix.net/2026/04/GettyImages-2270419682-768x512.jpg 768w, https://dw-wp-production.imgix.net/2026/04/GettyImages-2270419682.jpg 1024w" sizes=" (max-width: 864px) 100vw, 864px" />Han Myung-Gu/WireImage</div>
The film is guaranteed a big opening weekend, but the only way to dampen the box office potential is to lean into Hollywood’s worst impulses. Identity Politics. Speeches. Political asides that erupt out of the blue.
Or, the film’s stars will use “Prada’s” publicity tour to politicize the film. Streep is already attempting just that by <a href="https://radaronline.com/p/meryl-streep-slams-melania-trump-controversial-jacket/">insulting fashion icon turned First Lady Melania Trump</a>.
Some movies are critic-proof. “The Devil Wears Prada 2” is both critic and culture war proof, assuming Hollywood can get out of its own way.
* * *
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 Devil Wears Prada 2” Press Conference & Seoul Premiere

Why ‘The Devil Wears Prada 2’ Could Succeed Where Woke Hollywood Keeps Failing

Box Office

Film

Meryl Streep

Unions love nothing more than blaming problems on non-union operations.
So it was no surprise last weekend when the International Alliance of Theatrical Stage Employees, best known as IATSE, blamed the lack of union representation on the set of The Daily Wire’s new action film when movie star Jonathan Majors <a href="https://deadline.com/2026/04/jonathan-majors-falls-through-window-crew-strike-daily-wire-1236773038/">fell through a prop window</a> and <a href="https://x.com/realDailyWire/status/2041273088428413189">“nearly died.”</a>
Well, not exactly. Majors only fell a few feet. He’s totally fine. In the video of the “accident” posted by Deadline you can hear Majors immediately asking, “Did we shoot it? Use it!”
READ MORE: <a href="https://www.dailywire.com/news/daily-wire-1-hollywood-union-0-production-wraps-on-jonathan-majors-action-movie">Daily Wire 1, Hollywood Union 0: Production Wraps On Jonathan Majors Action Movie</a>
Still, IATSE, the self-proclaimed “union behind entertainment,” wants people to believe that if they were there, nobody could have possibly gotten hurt.
Except, here’s the thing: IATSE is full of it. It’s all a game to twist producer Dallas Sonnier’s arm into entering a collective bargaining agreement with the union. And it’s a game <a href="https://www.dailywire.com/news/daily-wire-1-hollywood-union-0-production-wraps-on-jonathan-majors-action-movie?author=Amanda+Harding&amp;category=undefined&amp;elementPosition=10&amp;row=3&amp;rowHeadline=Latest+News&amp;rowType=Vertical+Carousel&amp;title=Daily+Wire+1%2C+Hollywood+Union+0%3A+Production+Wraps+On+Jonathan+Majors+Action+Movie">the union lost</a>, because Sonnier “doesn’t negotiate with communists.”
But let’s go back to the issue of the unions and safety. 
Forget for a moment that a Screen Actors Guild representative was present on set the entire time and had no safety concerns. Forget, again, that Majors only took a small tumble and was totally fine. Let’s pretend Sonnier had caved to the union’s demands and given them everything they wanted. That would have prevented even this minor injury, right?
Well, sure. Nobody ever gets hurt on union-run Hollywood sets — at least if you don’t count the “Mission: Impossible” where Tom Cruise broke his ankle jumping off a building.
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Yes, IATSE was on set for that. It’s on set for every Hollywood movie. It’s unclear whether anyone walked off after that accident, which was so bad that they even included it in the film’s promo. Shout out to Cruise, who had the same reaction as Majors and immediately told the director to use the footage. He kept going after he knew he snapped his ankle, because he knew it was the perfect shot. 
IATSE was also probably on the set of “Django Unchained” when Leonardo DiCaprio slammed a table so hard that he smashed a prop glass and bled all over his co-star, Kerry Washington.
It’s unlikely that anyone walked off that set. In fact, it’s said the crew broke out into applause after director Quentin Tarantino called “cut.” And Tarantino put DiCaprio and his blood-soaked hand into the final cut of the movie.
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On the set of “Cast Away,” Tom Hanks ignored a small cut on his leg and developed an infection that nearly killed him. He was rushed to the hospital, and production was shut down for weeks as Hanks recovered. Again, it’s unclear whether any crew left the set in Fiji in protest.
George Clooney was so badly injured performing a stunt on the set of 2005’s “Syriana” that he considered suicide. It was during a torture scene, and Clooney flipped the chair he was tied to and cracked open his skull. He leaked spinal fluid out of his brain.
He won the Oscar for best actor, back when an Oscar really meant something. There were no reports of a union worker mutiny for an unsafe set.
<div id="attachment_629217" style="width: 820px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-629217" class="size-large wp-image-629217" src="https://dw-wp-production.imgix.net/2023/10/Tom-Hanks-810x576.jpg" alt="Tom Hanks" width="810" height="576" srcset="https://dw-wp-production.imgix.net/2023/10/Tom-Hanks-810x576.jpg 810w, https://dw-wp-production.imgix.net/2023/10/Tom-Hanks-300x213.jpg 300w, https://dw-wp-production.imgix.net/2023/10/Tom-Hanks-768x546.jpg 768w, https://dw-wp-production.imgix.net/2023/10/Tom-Hanks-1536x1093.jpg 1536w, https://dw-wp-production.imgix.net/2023/10/Tom-Hanks-2048x1457.jpg 2048w" sizes=" (max-width: 810px) 100vw, 810px" />Jeff Kravitz/FilmMagic via Getty Images</div>
Sylvester Stallone got slammed so hard by wrestling legend Stone Cold Steve Austin in “The Expendables” — an awesome movie which he directed himself — that he broke his neck and dislocated both of his shoulders. He needed seven surgeries and ended up having a metal plate inserted into his neck.
Jackie Chan gets injured in almost every movie he does: cracked skull from a jump off a tree, legs crushed between two cars, and even one time where he almost lost an eye to a roundhouse kick. 
We can imagine that an IATSE production assistant advised Jackie Chan to take a few plays off, but I assure you that didn’t happen.
As Sonnier told Deadline, sometimes the people making action movies are just “too busy being bad asses, blowing sh*t up, flying helicopters, and killing movie terrorists to concern ourselves” with attention-seeking union assholes. 
So, no, unions don’t make film sets any safer. If anything, injuries on union-run sets are so common at this point that it’s almost malpractice to involve them.

Untitled design (1)

Hollywood Debunked: No, Unions Don’t Make Movie Sets Safer

Jonathan Majors

Unions

Actress Olivia Munn is complaining that a male co-star objected to a scene in which her character saves his, leading to a dispute on set. 
The 45-year-old ranted about the unnamed colleague during a recent appearance on “The Drew Barrymore Show.” 
“There have been a few times where I’ve been filming something, and my character was either like CIA, or a cop, or something, and there’s been scenes where my character has been the one to save the other character,” Munn told the talk show host, noting that the scene involved her and the co-star fighting side by side in a bunker. 
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“If you read the script, it was that he was guarding his side, I was guarding my side, then we switch sides and then there’s a guy that was coming for him who was gonna shoot him in the back, so I shoot him,” she went on. “And then we’re about to shoot and, somehow, I guess he didn’t read the script, and in that moment, he realized, ‘Wait, wait, wait. Hold on. She can’t save me. No, no. She can’t save me.’”
Munn claimed that her colleague was “combative with the director” and held up production for close to an hour. The actress lamented that he had “no insecurity about being obnoxious and everyone hearing this and being like, ‘She can’t save me! We’re not doing this.’”
“Finally, after like 45 minutes of just stopping down, I said, ‘OK, how about instead of my character saving you, it’s just that we switch because it’s time for us to switch and so this is my guy to get,’” she told Barrymore. “And he was like, ‘OK.’”
Online commenters called out Munn for her complaints, criticizing what they view as a double standard in Hollywood.
“So it’s totally cool for a woman to feel like she doesn’t need to be saved by a man, but it’s bad if a man thinks he doesn’t need to be saved by a woman? Did I get that right?” one popular reaction <a href="https://x.com/Variety/status/2042056151936987227">said</a>.
“And if Olivia Munn refused to be ‘damseled’ in a scene, you bet your bippy it would be a tale of female empowerment,” another <a href="https://x.com/Scribe_Light/status/2042056424440918201">agreed</a>.
Many commenters called Munn out for not naming names, leading them to question the story entirely.
Calling out colleagues without naming them has become a bit of a pattern for the “X-Men: Apocalypse” star. Last summer, she <a href="https://variety.com/2025/film/news/olivia-munn-male-director-ruin-career-1236445139/">complained about</a> a director she worked with on HBO’s “The Newsroom” who she claimed tried to sabotage her.
“I was on the one-yard line for the movie, and my manager calls me and says, ‘Hey, you’re gonna get the role. But first, I guess there’s another director who they know and he says that on “The Newsroom” you were late all the time and really combative,’” Munn said at the time. 
“I lived seven minutes from there. I was never late. I was like, ‘I know who this is.’ He just was trying to bash me. And I told my reps, ‘Please tell the directors this.’ And then I still got the role. But I will always remember that just because of our conflicts of how we approached a role, he wanted to ruin my chances of getting anything else.”

Olivia Munn

Olivia Munn Calls Out Male Co-Star Who Refused To Be Rescued By A Woman

Feminism

After a long weekend of union agitator-fueled rumors about The Daily Wire&#8217;s new action film, production has wrapped after five weeks, as planned, and the union reps didn’t get their way.
It all started with Deadline <a href="https://deadline.com/2026/04/jonathan-majors-falls-through-window-crew-strike-daily-wire-1236773038/">publishing</a> an exclusive story about actor Jonathan Majors falling through a window while on set of the production in progress, which, according to their sources, led to a union strike and other allegations of safety concerns on set.
Faithful Daily Wire fans won&#8217;t be surprised to learn that there’s more to the story. Film producer Dallas Sonnier provided a short, yet direct, statement to Deadline, saying simply: “The entire industry is in freefall due to strikes, and now that their members are out of work, they’re trying to sabotage the few people who are still producing. We don’t negotiate with communists.”
So what really went down?
During the fourth week of filming, an executive from the International Alliance of Theatrical Stage Employees, best known as IATSE, reached out to Sonnier claiming that she “represented the majority of the crew,” which consisted of both local hires in South Carolina and returning staff from previous projects. The IATSE rep “demanded” that they immediately be recognized and negotiate a collective bargaining agreement to cover staff wages, hours, benefits, and working conditions.
Before the deadline she proposed even arrived, a small handful of picketers were out creating a nuisance. It was that same day that Majors and actor JC Kiljoyne fell through a window filming a scene. Deadline posted video of the incident, and reported it was a six foot drop — though pictures posted show it was barely four feet off the ground.
<blockquote class="twitter-tweet">
The height of the window btw <a href="https://t.co/Lr1KlckW9c">https://t.co/Lr1KlckW9c</a> <a href="https://t.co/sAZF0UYiLb">pic.twitter.com/sAZF0UYiLb</a>
— Daily Wire (@realDailyWire) <a href="https://twitter.com/realDailyWire/status/2041249651840454989?ref_src=twsrc%5Etfw">April 6, 2026</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
That stunt with the window was part of production&#8217;s plans for later that day, and Sonnier says it was far from an emergency.
&#8220;Everyone handled it quickly and successfully. We always have licensed medics on our sets, and this day, we had two,&#8221; Sonnier said. &#8220;The production was immediately halted to ensure safety sign-offs by both medics before moving forward.&#8221;
He also says the clip leaked to Deadline is definitely going to make it into the final cut.
The actors&#8217; comments are fully aligned. Kiljoyne’s rep told Deadline in the aftermath that he &#8220;did not feel unsafe on set and continues to have a positive experience working on the project.&#8221;
Majors made similar <a href="https://www.tmz.com/2026/04/04/jonathan-majors-says-hes-fine-after-falling-through-window-on-set/">comments</a> to TMZ. &#8220;I&#8217;m ok. I was happy to be on set and help tell the story. I am grateful for whoever is checking on me, the cast and crew for regarding our safety. It&#8217;s going to be a great movie and I am looking forward to fans seeing it!&#8221;
While IATSE came out of left field, there was a SAG rep on set many days who confirmed that the actors “should show up and finish the movie as planned” following the accident. It was noted that the SAG rep had “zero safety concerns” for the movie.
“We had a licensed armorer every single day,” Sonnier said. “We had a safety meeting at the top of each day, and prior to any special effect or stunt. The reason we don’t have a ‘RUST’ situation is because we take this stuff so seriously,” he added, referring to Alec Baldwin’s firearm discharging while filming and killing cinematographer Halyna Hutchins in 2021.
During the fourth week of filming, 15% of the crew decided to leave. Based on conversations Sonnier had with the whole crew, this was the result of IATSE pressure and not because of any safety concerns, he said. All the staff who left were replaced by the next morning.
Crucially, those who left did not appear to be part of the picketing. “The ‘strikers’ were just angry union rep protestors,” Sonnier said, noting that by day two, their numbers were reduced to about seven people total.
The picketers caused minor annoyances, such as yelling at actors, encouraging cars to honk to disrupt filming, pressuring vendors to pull gear, sending threatening letters, and yelling “CUT!” and “ACTION!” as a way of confusing the actors on set. But in the end, production rolled on.
The Deadline article was released after all these efforts failed, especially after Sonnier refused to engage with their demands.
Sonnier said IATSE reps never called him or contacted him beyond the first email &#8220;because they are total cowards and whiny busybodies.&#8221; The producer says this was an illegitimate strike. 
Does IATSE have any response to this? IATSE, of course, did not respond to questions from The Daily Wire.

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Daily Wire 1, Hollywood Union 0: Production Wraps On Jonathan Majors Action Movie

Daily Wire

The Daily Wire

The MCU is yesterday’s news. The NCU, or Nintendo Cinematic Universe, is just beginning.
Ever since Robert Downey Jr. tinkered with that iron suit back in 2008, Marvel movies have dominated Hollywood. “Iron Man” changed the movie-making landscape. In recent years, however, superhero romps no longer light up the box office like they once did.
Even “Superman” <a href="https://www.worldofreel.com/blog/2025/10/8/report-superman-box-office-isnt-the-success-warner-bros-claimed">struggled to turn a profit last year.</a>
Meanwhile, “The Super Mario Galaxy Movie” spun from Nintendo’s beloved video game franchise, could <a href="https://variety.com/2026/film/news/super-mario-galaxy-movie-biggest-opening-day-2026-1236705460/">make $180 million (or more) in its opening weekend.</a>
Video game movies are having a moment, and Hollywood won’t be the same moving forward.
<div id="attachment_1072101" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-1072101" class="size-large wp-image-1072101" src="https://dw-wp-production.imgix.net/2026/04/GettyImages-2268776924-864x576.jpg" alt="KYOTO, JAPAN - MARCH 28: Chris Meledandri, Jack Black and Shigeru Miyamoto pose for a photo as Universal Pictures, Nintendo and Illumination present the premiere of &quot;The Super Mario Galaxy Movie&quot; at Minamiza Theater on March 28, 2026 in Kyoto, Japan. (Photo by Tomohiro Ohsumi/Getty Images for Universal Pictures, Nintendo and Illumination)" width="864" height="576" srcset="https://dw-wp-production.imgix.net/2026/04/GettyImages-2268776924-864x576.jpg 864w, https://dw-wp-production.imgix.net/2026/04/GettyImages-2268776924-300x200.jpg 300w, https://dw-wp-production.imgix.net/2026/04/GettyImages-2268776924-768x512.jpg 768w, https://dw-wp-production.imgix.net/2026/04/GettyImages-2268776924.jpg 1024w" sizes=" (max-width: 864px) 100vw, 864px" />Tomohiro Ohsumi/Getty Images for Universal Pictures, Nintendo and Illumination</div>
The superhero film genre may have run its course organically, but Hollywood hastened its decline. The genre peaked with 2019’s “Avengers: Endgame,” which made an astonishing $2.8 billion worldwide.
It’s been downhill ever since, with MCU gatekeepers injecting girlbossery and DEI platitudes into the saga. That helped crush “The Marvels” and “Eternals,” while slowing the MCU’s winning streak.
Even respectable entries like last year’s “Thunderbolts” and “The Fantastic Four: First Steps” proved financially underwhelming, at least by previous standards.
So Hollywood needed another source of IP (Intellectual Property) gold. Why not video games? Well, Hollywood had tried that repeatedly, often with ghastly results.
Think 1993’s “Super Mario Bros.,” a colossal misfire starring John Leguizamo and Bob Hoskins, 1999’s “Wing Commander” bust, and even 2005’s “Doom” with Dwayne Johnson.
<div id="attachment_1072117" style="width: 405px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-1072117" class="size-large wp-image-1072117" src="https://dw-wp-production.imgix.net/2026/04/GettyImages-55990924-395x576.jpg" alt="BERLIN - OCTOBER 24: Actor Dwayne 'The Rock' Johnson gestures during a photo call for his newest movie &quot;Doom&quot; on October 24, 2005 in Berlin, Germany (Photo by Andreas Rentz/Getty Images)" width="395" height="576" srcset="https://dw-wp-production.imgix.net/2026/04/GettyImages-55990924-395x576.jpg 395w, https://dw-wp-production.imgix.net/2026/04/GettyImages-55990924-206x300.jpg 206w, https://dw-wp-production.imgix.net/2026/04/GettyImages-55990924.jpg 702w" sizes=" (max-width: 395px) 100vw, 395px" />Andreas Rentz/Getty Images</div>
More clunkers? The 2005 catastrophe “Alone in the Dark” and 2003’s “House of the Dead,” both courtesy of hack auteur Uwe Boll.
Something was missing, be it A-list actors, competent directors, or the kind of FX to pull off the visually impossible.
Slowly, Hollywood began treating video game adaptations with a critical element — respect. The 2018 film “Rampage” wasn’t a sensation, but by then Johnson was a star attraction, and the film’s budget gave it the gravitas the source material required.
The 2021 comedy “Free Guy” cast likable Ryan Reynolds as an NPC (non-player character) in way over his head. The film packed big laughs with video game elements to the tune of $331 million worldwide.
Reynolds may be gently progressive off-screen, but he knows how to put on a show without pushing Heartland viewers away. Few actors can match his marketing savvy.
The “Sonic the Hedgehog” films, based on the Sega speedster, have all made serious coin, aided by slick video game elements and the unchecked Id of star Jim Carrey.
<div id="attachment_146292" style="width: 544px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-146292" class="size-full wp-image-146292" src="https://dw-wp-production.imgix.net/2020/09/Jim-Carrey.jpg" alt="Jim Carrey attends the LA special screening of Paramount's &quot;Sonic The Hedgehog&quot; at Regency Village Theatre on February 12, 2020 in Westwood, California. (Photo by Rich Fury/WireImage via Getty Images)" width="534" height="314" srcset="https://dw-wp-production.imgix.net/2020/09/Jim-Carrey.jpg 534w, https://dw-wp-production.imgix.net/2020/09/Jim-Carrey-300x176.jpg 300w" sizes=" (max-width: 534px) 100vw, 534px" />Rich Fury/WireImage via Getty Images</div>
Another secret to video game movies’ recent success? Respecting the audience. These films haven’t pushed a progressive agenda on unsuspecting audiences. No lectures, unnecessary woke asides, or clunky identity politics casting.
Even <a href="https://deadline.com/2025/08/snoop-dogg-scared-movies-grandchildren-same-sex-disney-pixar-lightyear-1236497251/">Snoop Dogg can watch these mostly PG-friendly films</a> with his grandson.
The new wave of video game-inspired films, while far from artistically relevant, cater to fans via Easter Eggs and other source material nods. And, when the fans speak, they listen.
Recall the outrage over the character design shown in the initial “Sonic the Hedgehog” teaser from 2019. <a href="https://www.hollywoodreporter.com/movies/movie-news/sonic-hedgehog-release-delayed-fan-outcry-1213486/">Fans mocked the FX</a> behind the titular hero, and the studio quickly addressed the matter by tweaking the film.
That probably cost a pretty penny, and it pushed the release date forward several months. The results spoke for themselves. The film earned $148 million in the U.S. alone and sparked a new franchise.
A fourth “Sonic” film will <a href="https://www.hollywoodreporter.com/movies/movie-news/sonic-4-amy-rose-hammer-sequel-production-hedgehog-1236519779/">debut next year</a>, adding A-lister Kristen Bell to the saga (her voice, to be precise).
Video game adaptations were suddenly vital, but they still couldn’t approach MCU-like box office grosses. Then along came “The Super Mario Bros. Movie” in 2023. That animated romp rang up $1.3 billion at global theaters, cementing video game movies as the new Hollywood drug.
The industry couldn’t get enough, and that was before “A Minecraft Movie” debuted two years later. That film, starring Jack Black and Jason Momoa, earned $424 million stateside and nearly $1 billion globally.
<a href="https://deadline.com/2026/03/minecraft-movie-2-cast-kirsten-dunst-1236760538/">A sequel is in the works</a>. Of course.
<div id="attachment_906779" style="width: 1034px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-906779" class="size-large wp-image-906779" src="https://dw-wp-production.imgix.net/2025/04/MixCollage-11-Apr-2025-03-17-PM-8107-1024x576.jpg" alt="Jack Black, Jason Momoa, Sebastian Hansen in ‘A Minecraft Movie’. Photo by Courtesy Warner Bros. Pictures/Courtesy Warner Bros. Pictures. Copyright 2025 Warner Bros. Entertainment Inc. All Rights Reserved. IMDB." width="1024" height="576" srcset="https://dw-wp-production.imgix.net/2025/04/MixCollage-11-Apr-2025-03-17-PM-8107-1024x576.jpg 1024w, https://dw-wp-production.imgix.net/2025/04/MixCollage-11-Apr-2025-03-17-PM-8107-300x169.jpg 300w, https://dw-wp-production.imgix.net/2025/04/MixCollage-11-Apr-2025-03-17-PM-8107-768x432.jpg 768w, https://dw-wp-production.imgix.net/2025/04/MixCollage-11-Apr-2025-03-17-PM-8107-1536x865.jpg 1536w, https://dw-wp-production.imgix.net/2025/04/MixCollage-11-Apr-2025-03-17-PM-8107-2048x1153.jpg 2048w" sizes=" (max-width: 1024px) 100vw, 1024px" />Courtesy Warner Bros. Pictures. Copyright 2025 Warner Bros. Entertainment Inc. IMDB.</div>
That film’s “<a href="https://www.nytimes.com/2025/04/10/movies/chicken-jockey-minecraft-movie.html">chicken jockey</a>” sequence sparked a viral video sensation. Not only were Gen Alpha types seeing the film in theaters, but they went cartoonishly wild during that farcical moment.
Suddenly, it was cool to be in a theater again. Hollywood is now paying full attention to a competing media landscape, and many more video game adaptations are on the way. This May brings us “Mortal Kombat II,” while a “Resident Evil” reboot by “Weapons” director Zach Cregger is coming in September.
Bigger titles abound in 2027, including “The Legend of Zelda,” “Call of Duty,” and “Elden Ring.” Any one could spark a new film franchise. Maybe all three will do just that.
The potential seems endless, at least for now. The same once could be said for superhero movies given the endless amount of source material, but the MCU is so desperate for a cultural reboot that it reunited virtually every hero under the sun for December’s “Avengers: Doomsday.”
Can that film light a fire under the Men in Tights genre anew? Or have video games taken the box office crown and won’t give it back?
Movies are a natural fit for video game adaptations, but the small screen is also seeing a benefit. Hit shows like HBO Max’s “The Last of Us” and Prime Video’s “Fallout” show how games can also inspire TV sensations.
The video game manufacturers couldn’t be happier about the Hollywood synergy. It’s boosting both <a href="https://www.hollywoodreporter.com/business/business-news/tv-adaptations-video-games-new-players-1236372468/">game awareness and sales</a>, meaning these companies will gladly sell the film and TV rights to their properties … for the right price.
It’s one Hollywood studios will gladly pay.
* *
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>.

Super Mario Bros

The Next Box Office Boom Is Here And It Looks Nothing Like Marvel

Marvel

Nintendo

Video Games

According to a <a href="https://www.wsj.com/business/media/see-how-hollywoods-job-market-is-collapsing-230be437?mod=e2tw">new report</a> from The Wall Street Journal, the Hollywood job market is collapsing at an alarming rate.
The news outlet found that entertainment motion picture and video production employment saw a 30% reduction in jobs as compared to 2022. That includes work for actors, carpenters, costume makers, and the hundreds of other professions behind movies and TV shows.
WSJ noted that studios are making fewer movies and shows in general, and that when they do, those projects are often being made in countries that offer cheaper prices for filming.
Noah Wyle, who stars in and serves as executive producer of the popular medical drama “The Pitt,” said it was “a near cratering of our once thriving industry.”
The outlet noted that studios, labor unions, and soundstage owners have been pushing for a federal tax incentive of 15%, which could be combined with state incentives ranging from 20% to 40%. They claim this would entice studios to bring production back to the United States.
But even if those incentives brought the action back to Hollywood, it wouldn’t solve the issue of a general downturn in output. Hollywood has been serving up <a href="https://www.dailywire.com/news/hollywood-just-had-its-worst-summer-box-office-in-over-40-years">a lot of flops lately</a>, and that track record has led to major studios being more cautious with what they’re willing to make. This likely has a lot to do with churning out woke crap that audiences are sick of seeing, even if they’d never admit it.
The bad box office results are being blamed on the rise of streaming, short attention spans in the TikTok age, and a general refusal of audiences to return to theaters in a post-COVID world, among other issues. Hollywood analysts insist there is too much competition to make a great hit. But then a success story like “Project Hail Mary” comes along and <a href="https://www.dailywire.com/news/hollywood-learned-the-wrong-lesson-from-project-hail-mary">blows that theory to shreds</a>.
In September, President Trump addressed the issue, threatening a “100% tariff” on films made overseas in an effort to bring movie production back to the United States.
“Our movie making business has been stolen from the United States of America, by other Countries, just like stealing ‘candy from a baby.’ California, with its weak and incompetent Governor, has been particularly hard hit! Therefore, in order to solve this long time, never ending problem, I will be imposing a 100% Tariff on any and all movies that are made outside of the United States,” the president shared in a Truth Social post at the time, echoing similar statements he made in May.

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