The movie business has just suffered the worst Halloween box office in over 30 years, causing many people who think seriously about Hollywood to laugh uproariously while baring their buttocks in the direction of Los Angeles and singing made-up song lyrics that rhyme with “Pharma is a glitch, you sleazy brother duckers!”
The box office tally showed that after releasing around 11 Halloween-themed movies for the October holiday at an overall production cost of about $300 million, industry leaders drew in enough money to buy a jumbo popcorn at the candy counter if the nice old man standing in line behind them gave them an extra nickel out of the goodness of his heart.
But while Hollywood zillionaires have been openly dripping scorn on the values, lifestyles, religion, and patriotism of the American public for the last 30 years, that doesn’t mean Americans are celebrating the industry’s hilariously humiliating fall down a bottomless well of hilarious humiliation. Sure, there have been one-or two-or five-hundred nationwide fortnight-long parties at which burning effigies of Bob Iger are hung from trees while adults and children alike dance in circles beneath them singing made-up lyrics that rhyme with, “Burn, you supercilious niece of split!” But that’s only because they wanted to melt chocolate and marshmallows for their s&#8217;mores, and a burning effigy of Bob Iger strung from a tree happened to be near at hand, as always.
Meanwhile, in Los Angeles, studio executives are trying to solve the mysteriously puzzling conundrum-like enigma of why their latest films are not causing what used to be the movie-going public to leave their homes, where they’re busy playing darts with the headshots of loudmouth actors.
<a href="https://www.dailywire.com/show/the-andrew-klavan-show"><img loading="lazy" decoding="async" class="size-large wp-image-974735 aligncenter" src="https://dw-wp-production.imgix.net/2025/09/Klavan-watch-now-1024x171.jpg" alt="" width="1024" height="171" srcset="https://dw-wp-production.imgix.net/2025/09/Klavan-watch-now-1024x171.jpg 1024w, https://dw-wp-production.imgix.net/2025/09/Klavan-watch-now-300x50.jpg 300w, https://dw-wp-production.imgix.net/2025/09/Klavan-watch-now-768x128.jpg 768w, https://dw-wp-production.imgix.net/2025/09/Klavan-watch-now-1536x256.jpg 1536w, https://dw-wp-production.imgix.net/2025/09/Klavan-watch-now.jpg 1800w" sizes=" (max-width: 1024px) 100vw, 1024px" /></a>
One studio executive, Chazer Shmendrik of Crapola Pictures, took time out to talk to a reporter while coming home to his third wife from his 14-year-old mistress’s house before stopping off at his dealer on his way to a fundraiser for the Shout Your Abortion Foundation. Shmendrik said, “I just can’t figure out why the folks aren’t showing up for our movies. We’ve given them homosexual propaganda for children, turned all their favorite franchises into socialist rants, denigrated masculinity, banned femininity, barred the depiction of white men as heroes, and cast the president of the United States as everything from a black lesbian to a saintly Islamist. We even made a movie about a 58-year-old girl-boss who laps milk out of a saucer in order to debase herself in front of a 25-year-old man. I mean, we’ve tried everything. What the hell else does this audience want anyway?”
Other executives said the poor Halloween box office was either due to competition from the World Series or the government shutdown, or the fact that Halloween fell on a Friday this year, or maybe just that Americans are sick of giving money to tawdry jerkwads who hate them. 
But even as Hollywood tried to determine where they might have gone wrong, the industry was rocked by another scandal when bombshell actress Lefty Vavoom showed up at an elite gala wearing a shocking full-sleeved blouse and ankle-length skirt that revealed every inch of her modesty and restrained sexual behavior. As paparazzi snaps of the starlet’s outfit appeared on front pages under red-ink shock headlines, feminist critics reacted in rage.
At the New York Times, a former newspaper, feminist columnist Banshee McScreamyface wrote, “At a time when women in the workplace are facing disrespect for simply exercising their right to descend to the lowest levels of self-hating sexual degradation, how can we proclaim our feminist principles if our Hollywood role models strut around in non-see-through blouses that don’t even expose their nipples? I don’t want to seem old-fashioned but we need a return to the good old days when Kanye West’s girlfriends came to parties wearing nothing but a dog collar, proudly proclaiming the legacy of feminism, namely obsessive self-abuse and soulless immiseration.”
Trembling before the feminist blast no one else read, Hollywood moguls immediately signed a pledge to cast more black actors in roles that make no earthly sense, and release another movie in which Nicole Kidman humiliates herself in the nude in time for her sixtieth birthday.
If that doesn’t win back the audience, nothing will. And let’s hope nothing will.
* * *
This excerpt is taken from the opening satirical monologue of “<a href="https://www.dailywire.com/show/the-andrew-klavan-show" target="_blank" rel="noopener">The Andrew Klavan Show</a>.”
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.

Friends watching scary movie at movie theater

Hollywood’s Halloween Horror: Woke Films So Bad They’re Scaring Audiences Away

Andrew Klavan

Hollywood

Horror Movies

Humor

Movies

Satire

The activist group GLAAD is sounding the alarm that LGBT character representation on television will drop by more than 40% next season.
The organization’s “Where We Are On TV” <a href="https://glaad.org/whereweareontv24/">report</a> showed that, despite the number of LGBT characters increasing last season to 489, 41% of those characters will not return due to series cancellations or endings, limited series appearances, or being killed off. 
“There is a definite concern that it’s not going to bounce back next year and see a growth just in terms of what’s been announced up to this moment,” GLAAD rep Megan Townsend <a href="https://www.thewrap.com/glaad-where-we-are-on-tv-2024-2025-report-findings/">told</a> TheWrap. “We have not had a ton of announcements or news about new series and returning series within the research period that would make up for some of these losses.”
Townsend also <a href="https://www.hollywoodreporter.com/tv/tv-news/glaad-study-gay-characters-on-television-where-we-are-on-tv-1236415828/">insisted</a> that “inclusive stories resonate with audiences and drive business success” and that “over 84 million American adults say they’re more likely to watch a TV show if it features at least one LGBTQ character.”
Sarah Kate Ellis, CEO and President of GLAAD, was also unhappy with the findings.
“Nearly a third of non-LGBTQ+ Americans say that LGBTQ+-inclusive media has changed their perception of our community,” she said. 
“Today, we are at a critical juncture, with hateful rhetoric running unchecked from politicians and news media and given a falsely amplified platform, even as the majority of this country overwhelmingly supports the LGBTQ+ community. With so many diverse, entertaining and impactful series being canceled at an alarming rate, it is imperative that networks and streamers do not back down.”
While the activists panicked, many social media commenters agreed that the LGBT characters being written off was merely a reflection of what viewers wanted.
“Call me crazy but that&#8217;s the free market. If demand isn&#8217;t there, characters and shows will be canceled,” one X user <a href="https://x.com/adamtoo__/status/1986620655903625336">said</a>. 
“If you don’t make money, you get canned,” another commenter <a href="https://x.com/knockhead/status/1986785036079661329">agreed</a>. “Not rocket science.”

Bella Ramsey

GLAAD Freaks Out As TV Gets Significantly Less Woke Next Season

GLAAD Panics That Almost Half Of LGBT Characters Won't Be On TV Next Season

Entertainment

GLAAD

LGBT

Television

U.S.

The Left owns Hollywood lock, stock, and barrel. Or, to be more accurate, used to own.
New media rebels are finally giving the progressive monopoly some small but fiery competition. Think “The Joe Rogan Experience,” a contrarian podcast where alternative perspectives get millions of views across media platforms. Or a certain conservative outlet that produced the <a href="https://get.dailywire.com/amiracist/?gad_campaignid=21933436219&amp;gad_source=1&amp;gclid=Cj0KCQiAq7HIBhDoARIsAOATDxBm2hPQ6CcuV09hj6BwyoTy0cbj2esalZiZVU_F95kQ04U2iaLygZIaAsO6EALw_wcB&amp;utm_campaign=air&amp;utm_content=na_subscriptions&amp;utm_medium=paid&amp;utm_source=googlesearch">most popular documentary of the last decade.</a>
Elon Musk’s purchase of Twitter-turned-X struck another blow against the Left’s pop culture cartel. Still, the Left’s near stranglehold on the arts remains in place, leaving a David vs. Goliath battle in progress.
Enter David Ellison, a corporate titan with a small but mighty slingshot.
<div id="attachment_997647" style="width: 876px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-997647" class="size-large wp-image-997647" src="https://dw-wp-production.imgix.net/2025/11/GettyImages-2239551629-866x576.jpg" alt="David Ellison, chairman and chief executive officer of Paramount Skydance Corp., during the Bloomberg Screentime event in Los Angeles, California, US, on Thursday, Oct. 9, 2025. Screentime gathers the moguls, celebrities, and entrepreneurs defining the next phase of pop culture to discuss and debate the future of Hollywood studios, the boom in sports and live music and the impact of AI on the creative industries. Photographer: Kyle Grillot/Bloomberg via Getty Images" width="866" height="576" srcset="https://dw-wp-production.imgix.net/2025/11/GettyImages-2239551629-866x576.jpg 866w, https://dw-wp-production.imgix.net/2025/11/GettyImages-2239551629-300x200.jpg 300w, https://dw-wp-production.imgix.net/2025/11/GettyImages-2239551629-768x511.jpg 768w, https://dw-wp-production.imgix.net/2025/11/GettyImages-2239551629.jpg 1024w" sizes=" (max-width: 866px) 100vw, 866px" />Kyle Grillot/Bloomberg via Getty Images</div>
The CEO of Skydance Media is now a major player in the entertainment space following his company’s acquisition of Paramount. And he could loom even larger should Skydance <a href="https://www.reuters.com/legal/transactional/david-ellisons-paramount-seen-front-runner-warner-bros-discovery-deal-2025-10-23/">add Warner Bros. Discovery</a> to its portfolio.
Ellison isn’t a number-crunching executive handing the creative side off to colleagues. His company’s biography says he “oversees the entire Skydance film slate.”
The son of Oracle co-founder Larry Ellison (one of the world’s richest men) is personally invested in entertainment, above and beyond his background with USC’s School of Cinematic Arts and memberships in the Producers Guild of America and the Television Academy.
<div id="attachment_997643" style="width: 876px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-997643" class="size-large wp-image-997643" src="https://dw-wp-production.imgix.net/2025/11/GettyImages-450392142-866x576.jpg" alt="Larry Ellison, chief executive officer at Oracle Corp., speaks during an event at the company's headquarters in Redwood City, California, U.S., on Tuesday, June 10, 2014. Ellison announced today that Oracle Corp will be releasing a new in memory database system called 12c in July 2014. Photographer: David Paul Morris/Bloomberg via Getty Images" width="866" height="576" srcset="https://dw-wp-production.imgix.net/2025/11/GettyImages-450392142-866x576.jpg 866w, https://dw-wp-production.imgix.net/2025/11/GettyImages-450392142-300x200.jpg 300w, https://dw-wp-production.imgix.net/2025/11/GettyImages-450392142-768x511.jpg 768w, https://dw-wp-production.imgix.net/2025/11/GettyImages-450392142.jpg 1024w" sizes=" (max-width: 866px) 100vw, 866px" />David Paul Morris/Bloomberg via Getty Images</div>
An <a href="https://variety.com/2025/film/features/david-ellison-hollywood-takeover-paramount-warner-bros-1236569136/">expansive Variety profile</a> suggests he’s willing to shake up the status quo in order to stay profitable in an uncertain time for film and TV studios. The old ways no longer work, he believes, and there’s plenty of evidence to back him up, given Hollywood’s uncertain present.
The bigger issue, one that could turn the cultural tide? He’s MAGA=adjacent. President Donald Trump has referred to the Ellisons as “<a href="https://www.cnn.com/2025/10/23/media/ellison-wbd-trump-warner-bros-discovery-bid">friends” and “big supporters.”</a> 
Exaggerations? Possibly. The younger Ellison has been coy about his ties to Trump, telling a press gaggle earlier this year that he <a href="https://www.vanityfair.com/news/story/david-ellison-paramount-plans-politics?srsltid=AfmBOopmFhN2gwtpuslNfLqAi5xkwi8GFifA8TAs49IslmXixJozLRyB">wanted to avoid political conversations</a>.
“Half my family is Democrat, half my family is Republican … I don’t intend to put my finger on the scale.”
That’s both an improvement on the status quo and something that speaks to both the cultural moment and the sense that Hollywood, Inc. has spent years alienating a huge swath of the country at its peril.
Ellison could make a sizable play for said swath by playing it down the middle. And, on occasion, reaching out to the Right when it makes sense. 
He recently partnered with the Trump administration to bring a UFC extravaganza to the White House lawn next year. That’s part of the <a href="https://www.reuters.com/sustainability/society-equity/paramount-wins-exclusive-us-rights-ufc-77-billion-deal-2025-08-11/">company’s $7.7 billion (with a B) UFC deal</a>. That sport skews decidedly young and male, a far cry from the “toxic masculinity” cries circulating in some Hollywood projects.
<div id="attachment_997651" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-997651" class="size-large wp-image-997651" src="https://dw-wp-production.imgix.net/2025/11/GettyImages-2242789414-864x576.jpg" alt="ABU DHABI, UNITED ARAB EMIRATES - OCTOBER 23: UFC President and CEO Dana White is seen on stage during the UFC 321 press conference at Etihad Arena on October 23, 2025 in Abu Dhabi, United Arab Emirates. (Photo by Jeff Bottari/Zuffa LLC)" width="864" height="576" srcset="https://dw-wp-production.imgix.net/2025/11/GettyImages-2242789414-864x576.jpg 864w, https://dw-wp-production.imgix.net/2025/11/GettyImages-2242789414-300x200.jpg 300w, https://dw-wp-production.imgix.net/2025/11/GettyImages-2242789414-768x512.jpg 768w, https://dw-wp-production.imgix.net/2025/11/GettyImages-2242789414.jpg 1024w" sizes=" (max-width: 864px) 100vw, 864px" />Jeff Bottari/Zuffa LLC</div>
Team UFC isn’t in lockstep with the Democrats like most sports, either. You won’t find an “End Racism” logo on any octagon. Some <a href="https://www.politico.com/news/2020/10/29/mma-trump-election-433529">MMA stars are pro-Trump</a>, while key figures like Rogan and UFC CEO Dana White both endorsed the leader’s 2024 campaign.
Ellison recently acquired the center-driven Free Press news outlet and hired founder Bari Weiss to restore CBS News as a trustworthy platform.
Weiss, a center-Left lesbian with a passion for old-school journalism, is the kind of person few people of Ellison’s status would embrace. He chose her anyway, hoping she would restore the CBS brand to its former glory. She quickly axed departments tied to race and climate.
That Variety profile mentions upcoming Ellison projects, such as a “Top Gun” sequel, the Heartland hit that Hollywood has yet to Xerox in any meaningful fashion. The only recent film to capture “Top Gun: Maverick’s” spirit? “F1,” the Brad Pitt racing film from earlier this year. Both hit films were shot by the <a href="https://www.dailywire.com/news/the-all-american-director-you-dont-know-by-name">same director</a>, Joseph Kosinski.
<div id="attachment_997633" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-997633" class="size-large wp-image-997633" src="https://dw-wp-production.imgix.net/2025/11/GettyImages-1395478401-864x576.jpg" alt="SAN DIEGO, CALIFORNIA - MAY 04: (L-R) Brian Robbins, President &amp; CEO, Paramount Pictures, Bob Bakish, President and CEO, Paramount Global, David Ellison, Joseph Kosinski, Tom Cruise, Shari Redstone, Non-Executive Chairwoman, Paramount Global, Jerry Bruckheimer and Christopher McQuarrie attends the Global Premiere of &quot;Top Gun: Maverick&quot; on May 04, 2022 in San Diego, California. (Photo by Leon Bennett/Getty Images for Paramount Pictures)" width="864" height="576" srcset="https://dw-wp-production.imgix.net/2025/11/GettyImages-1395478401-864x576.jpg 864w, https://dw-wp-production.imgix.net/2025/11/GettyImages-1395478401-300x200.jpg 300w, https://dw-wp-production.imgix.net/2025/11/GettyImages-1395478401-768x512.jpg 768w, https://dw-wp-production.imgix.net/2025/11/GettyImages-1395478401.jpg 1024w" sizes=" (max-width: 864px) 100vw, 864px" />Leon Bennett/Getty Images for Paramount Pictures</div>
Other Ellison films include a “Call of Duty” video game adaptation from Trump-friendly director Peter Berg and a cowboy feature the liberal outlet dubbed a “Western version of ‘Taken.’”
For years, Hollywood seemed willing to lose money in order to push a progressive message. The best example? It kept late-night TV reflexively liberal, ignoring viewers who craved a second opinion. Fox News shamed the industry by giving right-leaning Greg Gutfeld a late-night showcase, and his ratings numbers now speak for themselves.
That’s called leaving money on the table. Would Team Ellison do that?
CBS famously put an end to Stephen Colbert’s reign on “The Late Show,” giving him until May of 2026 to peddle his nonstop Trump barbs. That move came a month before Skydance acquired Paramount, Colbert’s then-employer.
As Variety <a href="https://variety.com/2025/tv/news/skydance-colbert-late-show-anti-bribery-laws-paramount-senators-letter-1236476164/">reported</a>, “&#8230;Stephanie Kyoko McKinnon, Skydance’s general counsel and co-president of business operations, said in part … “Skydance was “not involved” in CBS’s decision to cancel “The Late Show with Stephen Colbert&#8230;”
None of this means Ellison plans to turn Skydance into a Fox News-like media empire. No channels dedicated to Dinesh D’Souza documentaries or Chuck Norris films. It’s far more significant than that, potentially.
Ellison’s mission could give half the nation a veritable safe space, a company that won’t insult them and, on occasion, deliver content that speaks to their values. Hollywood needs fresh thinking and a way to reach audiences who have been chased away by A-list talent for far too long.
A key reason why the Oscars, a once-beloved TV institution, is no longer a ratings juggernaut is that too many stars rage against the show’s audience. Viewers hate them back by turning the channel.
Megastars no longer move the political needle every four years, in part, due to that animosity.
An Ellison-ized Hollywood could tell stories that would never otherwise be told. Imagine features on how Venezuela’s socialism crashed a once-prosperous nation. Or heroic tales that speak to the best American values, not just Oscar-bait dramas reeking of greedy capitalists or cruel men of faith.
It’s the kind of industry shake-up Hollywood needs, and it may take a billionaire of Ellison’s status to make it happen. Or, as screenwriter William Goldman said about Hollywood, “nobody knows anything.”
But if Ellison bucks conventional wisdom, he actually could make Hollywood great again.
* * *
Christian Toto is an award-winning journalist, movie critic, and editor of <a href="https://www.hollywoodintoto.com/" target="_blank" rel="noopener">HollywoodInToto.com</a>. He previously served as associate editor with Breitbart News’ Big Hollywood. Follow him at <a href="https://www.hollywoodintoto.com/" target="_blank" rel="noopener">HollywoodInToto.com</a>.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.

Key Speakers At The Bloomberg Screentime Conference

Paramount’s New Boss Has One Mission: Make Hollywood Watchable Again

Bari Weiss

Billionaire

Dana White

Donald Trump

Paramount

Silicon Valley

Tom Cruise

Video Games

White House

Academy Award-winning actress Jennifer Lawrence recently realized that regular people generally do not care what celebrities say about politics and will not vote a certain way because someone famous urges them to.
The leftist actress said as much during an episode of “The Interview” podcast, when the host mentioned a 2016 op-ed she wrote criticizing Donald Trump after he was first elected, and asked whether she wanted to speak about the president’s current policies.
“I don’t really know if I should,” Lawrence replied. “The first Trump administration was so wild, and just how can we let this stand? I felt like I was running around like a chicken with my head cut off.”
“But as we’ve learned, election after election, celebrities do not make a difference whatsoever on who people vote for. So then what am I doing? I’m just sharing my opinion on something that’s going to add fuel to a fire that’s ripping the country apart. We are so divided,” she went on.
<iframe loading="lazy" title="Why Jennifer Lawrence Regrets Everything She’s Ever Said or Done | The Interview" width="500" height="281" src="https://www.youtube.com/embed/9D2yXJOvTIo?start=1909&#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>
The “Hunger Games” star went on to discuss more effective ways of advancing her political opinions.
“I think I’m in a complicated recalibration because I’m also an artist,” Lawrence continued. “With this temperature and the way things can turn out, I don’t want to start turning people off to films and to art that could change consciousness or change the world because they don’t like my political opinions. I want to protect my craft so that you can still get lost in what I’m doing. And if I can’t say something that’s going to speak to some kind of peace or lowering the temperature or some sort of solution, I don’t want to be a part of the problem.”
Join us now during our exclusive Deal of the Decade. Get everything for $7 a month. Not as fans. As fighters. Go to <a href="https://get.dailywire.com/subscribe/plus/" target="_blank" rel="noopener">DailyWire.com/Subscribe</a> to join now.
“I try to express my politics through my work,” she explained. “A lot of movies coming out from my production company are expressions of the political landscape and that’s how I feel like I can be helpful.”
Lawrence has criticized Trump multiple times over the years and voiced support for the Women’s March, which was inspired by opposition to Trump.
Like most other major celebrities, Lawrence endorsed Democratic candidate Kamala Harris in 2024, <a href="https://people.com/jennifer-lawrence-endorses-kamala-harris-womens-rights-documentaries-exclusive-8717082">telling</a> People magazine at the time that she mostly made that choice because of “abortion being on the ballot.”
“That&#8217;s the most important thing, is to not let somebody into the White House who is going to ban abortion,” she said at the time.

Jennifer Lawrence

Jennifer Lawrence Realizes No One Cares About Her Politics: ‘Celebrities Do Not Make A Difference’

Jennifer Lawrence Realizes No One Cares About Her Politics: 'Celebrities Do Not Make A Difference'

Celebrities

Endorsement

Politics

“Uncut Gems” actress Julia Fox is facing backlash for her controversial Halloween costume, which social media users are calling “<a href="https://x.com/BeeAwake2/status/1984291814686515274">sick and disgusting</a>.”
The 35-year-old celeb, who is an ex-girlfriend of rapper Kanye West, stepped out for a Halloween party in New York City on Thursday and donned an outfit meant to depict the aftermath of the 1963 assassination of President John F. Kennedy. 
Fox was photographed wearing the recognizable pink suit and pillbox hat that JFK’s wife Jacqueline Kennedy Onassis wore on that day. The outfit was splattered with blood meant to represent the assassination.
Reactions on social media were fiercely opposed.
“Julia Fox continues to be one of the most insufferable people imaginable,” one person <a href="https://x.com/Process718/status/1984280085982314831">replied</a>. 
“What a ghoul,” another person <a href="https://x.com/cactusncookies/status/1984321326220525986">echoed</a>.
“You will never be able to convince me that Hollywood is not a product of the devil,” <a href="https://x.com/adhdrunsme/status/1984287556406796756">said</a> another.
“Tasteless, narcissistic attention seeking,” another commenter <a href="https://x.com/GenXgal90/status/1984325643308581108">replied</a>.
As backlash mounted, Fox posted a statement on Instagram defending the outfit, insisting her morbid outfit choice was &#8220;not a costume&#8221; but &#8220;a statement.&#8221;
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<p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/DQe2fVDkVv8/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by Julia Fox (@juliafox)</a>
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</blockquote>
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“When her husband was assassinated, she refused to change out of her blood-stained clothes, saying, ‘I want them to see what they’ve done,&#8217;” the celeb wrote. 
“The image of the delicate pink suit splattered with blood is one of the most haunting juxtapositions in modern history. Beauty and horror. Poise and devastation. Her decision not to change clothes, even after being encouraged to, was an act of extraordinary bravery. It was performance, protest and mourning all at once. A woman weaponizing image and grace to expose brutality. It’s about trauma, power and how femininity itself is a form of resistance. Long live Jackie O.”
Fox is known for getting attention by wearing provocative outfits. In a New York Times <a href="https://www.nytimes.com/2024/12/03/t-magazine/julia-fox-freak-guide.html">essay</a> published last year, the actress said she was sick of pretending to be normal and instead wanted to openly be a “freak.”
&#8220;I remember being in fifth grade [on New York’s Upper East Side] and being exhausted from trying to pretend to be normal all the time,” Fox wrote. “It’s not easier [to try] to be normal … eventually freaks are like, &#8216;I’m going to be myself and live my truth because I can’t pretend anymore.&#8217; Pretending is draining; it’s exhausting; it’s depression. Being a freak’s not an easy thing, but it can be a very beautiful thing.&#8221;

Julia Fox

Julia Fox Faces Backlash For ‘Sick’ Blood-Splattered Halloween Costume

Julia Fox Faces Backlash For 'Sick' Blood-Splattered Halloween Costume

assassination

Halloween

New York City

The stars are aligning against artificial intelligence.
It’s hard to blame them. One look at Tilly Norwood, the A.I. actress, as pretty as she is, forever young, and it’s clear why actors would be threatened by her digital existence.
That explains why so many are raging against A.I. in interview after interview. Except there’s a flaw in their arguments, one few stars are willing to admit. Nor will major studios, for that matter.
Oscar-winning actress Emma Thompson excoriated the rise of A.I. during an appearance on the soon-to-be-extinct “Late Show” on CBS. 
She shared her “<a href="https://variety.com/2025/film/news/emma-thompson-ai-annoying-irritation-1236563757/">intense irritation</a>” with the technological movement.
<blockquote>“… when I’ve written something, I will put it into a Word document. And recently, the Word document is constantly saying, ‘Would you like me to rewrite that for you?’ And so I end up just saying, ’I don’t need you to rewrite what I’ve just written, will you f*** off?! Just f*** off!”</blockquote>
<div id="attachment_994579" style="width: 1034px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-994579" class="size-large wp-image-994579" src="https://dw-wp-production.imgix.net/2025/10/Colbert-ET-1024x517.jpg" alt="Screenshot: Late Show with Stephen Colbert/YouTube.com" width="1024" height="517" srcset="https://dw-wp-production.imgix.net/2025/10/Colbert-ET-1024x517.jpg 1024w, https://dw-wp-production.imgix.net/2025/10/Colbert-ET-300x151.jpg 300w, https://dw-wp-production.imgix.net/2025/10/Colbert-ET-768x388.jpg 768w, https://dw-wp-production.imgix.net/2025/10/Colbert-ET.jpg 1157w" sizes=" (max-width: 1024px) 100vw, 1024px" />Screenshot: Late Show with Stephen Colbert/YouTube.com</div>
“Parks &amp; Recreation” alum Nick Offerman sang from a <a href="https://www.thewrap.com/the-view-nick-offerman-slams-ai/">similar hymnal</a> during a recent “View” appearance.
<blockquote>“In this day and age where companies are taking over the curation of our lives, like, they want AI to think for us…I love my clumsy, stupid farmer voice, I would never want a robot to write my song for me, because my song is stupid in a wonderful, delicious way that’s all about my voice! I don’t want to give over my agency.”</blockquote>
One of Offerman’s compositions <a href="https://www.billboard.com/culture/politics/nick-offerman-slams-donald-trump-pro-kamala-song-parody-1235762250/">mocked President Donald Trump</a> during the 2024 campaign.
<blockquote>“I’m proud to be a Kamala man, who’s quit the GOP/ I just can’t stick with the man convicted of 34 felonies.”</blockquote>
It’s hard to imagine A.I. could belt out a tune quite that insightful.
Some artists are doing more than talking about artificial intelligence. Author George R.R. Martin is <a href="https://www.hollywoodreporter.com/business/business-news/george-rr-martin-openai-court-legal-1236413461/">suing OpenAI</a> for copyright infringement. And he may have plenty of company, especially since said suit, albeit slowly, is moving forward.
The collective fear is palpable, and not without reason. If a savvy 21-year-old can use A.I. to create a visually stunning film at the same price point as a studio’s catering budget, Hollywood could be on borrowed time.
There’s another reason for the industry to give A.I. a long, hard look. The computer revolution excels at absorbing content and spitting out new material based on that data. How different is it from Hollywood in 2025?
Yes, too many film and TV scripts feel like A.I. helped write them from start to finish. Hackneyed plots. Predictable story arcs. Canned dialogue lacking in wit and imagination. Here’s betting A.I. could create an annoying GirlBoss character as well as any woke scribe.
Or almost as well.
That’s part of the problem. What about the content itself? Hollywood recycling has reached a fever pitch, and it shows no signs of stopping.
Recent examples include a deal to turn the ‘80s cop show “Miami Vice” into a feature film, one potentially starring Michael B. Jordan and Austin Butler. The original saga captured the Reagan era to a “T,” from its pastel-flavored suits to its synth-heavy soundtrack.
Except we’ve already seen a “Miami Vice” movie directed by a key player behind the original series, auteur Michael Mann. That 2006 film featuring Jamie Foxx and Colin Farrell made only a modest dent at the box office. Now, it’s time to try again? Why not feed the show’s original episodes into Grok and see what it churns out?
<div id="attachment_994551" style="width: 943px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-994551" class="size-large wp-image-994551" src="https://dw-wp-production.imgix.net/2025/10/GettyImages-2242151643-933x576.jpg" alt="ELIZABETH, NJ - OCTOBER 21: Anthony Ippolito as Sylvester Stallone is seen filming on the set of &quot;I Play Rocky&quot; on October 21, 2025 in Elizabeth, New Jersey. (Photo by Jose Perez/Bauer-Griffin/GC Images)" width="933" height="576" srcset="https://dw-wp-production.imgix.net/2025/10/GettyImages-2242151643-933x576.jpg 933w, https://dw-wp-production.imgix.net/2025/10/GettyImages-2242151643-300x185.jpg 300w, https://dw-wp-production.imgix.net/2025/10/GettyImages-2242151643-768x474.jpg 768w, https://dw-wp-production.imgix.net/2025/10/GettyImages-2242151643.jpg 1024w" sizes=" (max-width: 933px) 100vw, 933px" />Jose Perez/Bauer-Griffin/GC Images</div>
Another upcoming project essentially reboots Sylvester Stallone’s early years. “I Play Rocky” recalls the actor’s battle to play the main character in his original, in-demand screenplay. Studio executives had little appetite for Stallone, then an unknown actor. They craved an established star to play the blue-collar boxer who dreams of greatness.
The film cast young actors who resemble both Stallone and “Rocky” favorite Carl Weathers, respectively, although A.I. could have de-aged both for a fraction of the price.
The problem isn’t relegated to the big screen. A new “Karate Kid” musical retells that now tired tale, one that inspired three sequels, a Jackie Chan-led reboot, a spinoff TV series (“Cobra Kai”), and last summer’s tepid “Karate Kid: Legends.”
Here’s betting A.I. could write a few wisecracks about Hollywood’s recycling obsession. Actually, here’s one from Grok:
<blockquote>Hollywood is so obsessed with sequels, prequels, and remakes that the next big blockbuster will be Spider-Man: The Origin of the Origin Story.</blockquote>
Hardly a howler, but it’s not as awful as your average Stephen Colbert monologue.
Now, imagine if today’s Hollywood threw off the shackles of its IP obsession and reclaimed the spirit of, say, ‘70s-era filmmaking. That decade delivered rich, complicated stories that brought out the best in Hollywood at all levels. Think “Three Days of the Condor,” “Dog Day Afternoon,” “Network,” “Taxi Driver,” and “Chinatown.” Those are just a few of the iconic films that defined the ‘70s.
<div id="attachment_994583" style="width: 741px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-994583" class="size-large wp-image-994583" src="https://dw-wp-production.imgix.net/2025/10/GettyImages-133286967-731x576.jpg" alt="Penny Allen (3rd from left) and others are held up by Al Pacino in a scene from the film 'Dog Day Afternoon', 1975. (Photo by Warner Brothers/Getty Images)" width="731" height="576" srcset="https://dw-wp-production.imgix.net/2025/10/GettyImages-133286967-731x576.jpg 731w, https://dw-wp-production.imgix.net/2025/10/GettyImages-133286967-300x236.jpg 300w, https://dw-wp-production.imgix.net/2025/10/GettyImages-133286967-768x605.jpg 768w, https://dw-wp-production.imgix.net/2025/10/GettyImages-133286967.jpg 1024w" sizes=" (max-width: 731px) 100vw, 731px" />Photo by Warner Bros./Getty Images</div>
No A.I. bot could replicate those stories. Tilly Norwood would look foolish among the likes of Diane Keaton, Al Pacino, and Robert De Niro.
Maybe Hollywood should view A.I. not as an existential threat but the ultimate challenge.
Hollywood delivered some of the best stories of the modern era thanks to the intense competition fostered by the rise of cable and streaming outlets in the 21st century. “The Sopranos.” “Breaking Bad.” “Game of Thrones.” “Mad Men.”
The industry should view the threat of A.I. as a chance to show those dumb robots what great storytelling is all about.
* * *
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.
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The Late Show with Stephen Colbert

Stars Rage Against AI, But Hollywood’s Been Acting Like A Machine For Years

actors

Artificial Intelligence

Film

Actress Elizabeth Olsen recently made headlines for saying she’s drawing a proverbial line in the sand when it comes to community and shared experiences.
“I think it’s important for people to gather as a community, to see other humans, be together in a space,” the “WandaVision” star <a href="https://deadline.com/2025/10/elizabeth-olsen-acting-movies-theatrical-release-wanda-mcu-1236593646/">told</a> Deadline in a recent interview in which she stressed the importance of releasing films in theaters. “That’s why I like sports. I think it’s really powerful for people to come together for something that they’re excited about. We don’t even audition in person anymore.”
“If a movie is made independently and only sells to a streamer, then fine. But I don’t want to make something where that&#8217;s the end-all,” she added.
It’s not just nostalgia for movie theaters. Olsen, whether she realizes it or not, is alluding to something bigger: the death of shared culture and shared experiences.
In an interesting turn of events, Daily Wire podcast host Matt Walsh has been warning about this collapse as well. “Pop culture peaked at a specific and identifiable point in our very recent past,” Walsh said in a recent monologue. “And has fallen off a cliff, perhaps irretrievably, since then.”
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He even named the exact moment: 2007–2008. Walsh pointed to some of the best entertainment from the era, including “There Will Be Blood,” “The Dark Knight,” “The Office,” “Breaking Bad,” and “Superbad,” which came from a time when everyone watched the same things, quoted the same lines, and shared the same cultural conversations.
That’s what Olsen is missing, too. Our society no longer experiences anything together. Instead, they’re fed customized content via the algorithm, guaranteeing that everyone doesn’t wind up watching the exact same things.
Walsh explained it further, saying, “We no longer have a shared cultural experience … All of that has been consumed by an infinite scroll of content created by an algorithm specifically for you.”
He mentioned how there used to be radio DJs, movie premieres, and Thursday-night sitcoms everyone talked about on Friday. Now, everything is individually-tailored and undeniably lonely.
“The algorithm,” Walsh says, “is the only shared culture we have left. And it keeps us staring at the screen alone, isolated, fragmented.”
“As our lives have become increasingly centered around these devices, centered and condensed into these little glowing boxes, we have lost something very important,&#8221; Walsh added. &#8220;We no longer have a shared cultural experience, what some have called the monoculture, or what you might just call mainstream culture.&#8221;
“If I’m very optimistic, which I’m not,” Walsh said, “I’d hope people will rebel against this fragmented, algorithmic pseudo-culture by building strong communities … in physical space.”
Olsen’s pushback against streaming, and wanting people “to gather as a community” is exactly the rebellion Walsh hopes for. She’s advocating for that same thing by taking a stance against streaming projects.
Watching a movie alone on a laptop in your apartment is no different than scrolling through TikTok: solitary, algorithmically curated, and fleeting. Olsen’s defense of theaters isn’t just about art. It’s about returning to in-person human connection. Because once you lose shared experiences, you lose shared meaning. 
Olsen doesn&#8217;t have much in common with Walsh: she&#8217;s not conservative, and predictably, she <a href="https://x.com/PopCrave/status/1849915089031246076">endorsed</a> Kamala Harris for president in 2024. But in her quest for in-person connection, she’s actually advocating for conserving the fundamentals of human existence and rejecting the progressive nature of pursuing all types of technology, no matter the cost. 
Because in the end, culture can’t continue without community, and community dies when we choose solitude.

Elizabeth Olsen

Elizabeth Olsen Is Accidentally Making The Most Conservative Argument in Hollywood

algorithm

Culture

Matt Walsh

Technology

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.

Film Reviews

Glenn Beck

Horror

A few weeks ago, President Donald Trump designated Antifa a domestic terrorist organization. Most Americans know Antifa, if they&#8217;re lucky, from news coverage of the chaos it causes driving riots in big cities across the country. 
Ryan Millsap isn&#8217;t one of those Americans. Out of no fault of his own, Ryan found himself neighbors with the terrorist group. 
What started out as an opportunity to make cool movies in a state-of-the-art facility in Georgia turned into a protracted, ad hoc battle with random radicals living in tree houses. 
It’s stories like Ryan’s that expose the very real damage groups like Antifa can do. We&#8217;re proud to have him tell it himself in The Daily Wire. — The Daily Wire
* * *
The past four years of my life have been a relentless storm of attacks, lies, and betrayal — much of it orchestrated by radical activists who would rather burn down progress than see it thrive.
I never expected to end up in the crosshairs of Antifa, and that&#8217;s an understatement.
As a movie studio owner and real estate developer, I built Blackhall Studios into a cornerstone of Georgia’s film industry, creating jobs and opportunities.
When I entered into a land swap deal with DeKalb County, however, I drew the wrath of Antifa. This was all happening next door to the development of a new Atlanta Public Safety Training Center, that became known to the world as “Cop City.” When Antifa caught wind of the deal, chaos ensued.
This is my story. A story about a battle for a piece of land and for the truth in a world quick to crucify conservatives.
<h3>The Beginning: Building A Legacy</h3>
I wasn’t born into wealth. I made it the American way, with hard work and intelligent risk-taking. Growing up in California, I became a real estate developer and investor.
Following the financial crisis of 2008, I saw a new opportunity to acquire real estate across the Southeast and ended up purchasing over 8,000 apartments. In 2016, I seized on Georgia’s film industry boom, founding Blackhall Studios — an 850,000-square-foot powerhouse facility that helped produce hits like “Jungle Cruise,” “Jumanji,” “Venom,” and “Lovecraft Country.”
My team and I built a reputation of working cross-culturally with the community, hand-in-hand with Black leaders and Jewish colleagues. Through Advance DeKalb, I poured resources into the community, even offering to donate space to healthcare workers during the pandemic.
In 2018, I decided to expand Blackhall. Around the same time, the Atlanta Police Foundation planned a state-of-the-art public safety training facility to make Atlanta safer. The “Cop City” idea — next door to our planned expansion — was meant to train police and first responders to protect communities like DeKalb’s. To make it happen, I struck a land swap deal with DeKalb County: 55 acres of my studio’s land for 40 acres of Intrenchment Creek Park.
At the time, county officials and local leaders enthusiastically backed the deal. The county treated me as a partner, excited for the economic boost.
Then, in early 2021, Antifa showed up.
<div id="attachment_989641" style="width: 1034px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-989641" class="size-large wp-image-989641" src="https://dw-wp-production.imgix.net/2025/10/Cop-protest-II-copy-1024x576.jpeg" alt="Credit: Ryan Millsap" width="1024" height="576" srcset="https://dw-wp-production.imgix.net/2025/10/Cop-protest-II-copy-1024x576.jpeg 1024w, https://dw-wp-production.imgix.net/2025/10/Cop-protest-II-copy-300x169.jpeg 300w, https://dw-wp-production.imgix.net/2025/10/Cop-protest-II-copy-768x432.jpeg 768w, https://dw-wp-production.imgix.net/2025/10/Cop-protest-II-copy-1536x864.jpeg 1536w, https://dw-wp-production.imgix.net/2025/10/Cop-protest-II-copy.jpeg 1658w" sizes=" (max-width: 1024px) 100vw, 1024px" />Credit: Ryan Millsap</div>
<h3>The Turn: Antifa’s War On Progress</h3>
Hiding behind the “Defend the Atlanta Forest” banner, these “squatters” occupied the property, calling it “Weelaunee People’s Park.” To me, they didn’t appear to be peaceful environmentalists, but anarchists, funded and fueled by Antifa’s network, bent on sabotaging both our development and Cop City.
Their treehouses and protests were just the beginning of the chaos they would unleash. The “squatters’” antics turned violent fast. Rocks and full beer cans were thrown at workers on the site.
Then came the relentless legal battles. In 2020, the South River Watershed Alliance (SRWA) <a href="https://caselaw.findlaw.com/court/ga-court-of-appeals/116643343.html">sued me and DeKalb County</a>, alleging the land swap was illegal. Of course, it was not illegal, but abusive litigation is a hallmark of modern leftist terrorists. I filed an affidavit defending the deal, but the county’s response was indirect and they began to backpedal. I believe Antifa’s pressure campaign, with their deep pockets and activist networks, caused officials to abandon me.
Still, I had to fight back. So, I hired contractors and off-duty DeKalb police officers to secure the property. In a heated confrontation in July of 2022, protesters hurled objects at my team. Antifa lit my truck and trailer on fire and turned it into a bonfire of effigy. Then, in October of 2022, activists successfully <a href="https://www.fox5atlanta.com/news/anonymous-activist-claims-responsibility-for-blaze-at-dekalb-film-studio-may-this-be-a-warning-to-them">torched</a> Shadowbox Studios (formerly Blackhall).
<div id="attachment_989639" style="width: 778px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-989639" class="size-large wp-image-989639" src="https://dw-wp-production.imgix.net/2025/10/Truck-burn-768x576.jpg" alt="Credit: Ryan Millsap" width="768" height="576" srcset="https://dw-wp-production.imgix.net/2025/10/Truck-burn-768x576.jpg 768w, https://dw-wp-production.imgix.net/2025/10/Truck-burn-300x225.jpg 300w, https://dw-wp-production.imgix.net/2025/10/Truck-burn-1536x1152.jpg 1536w, https://dw-wp-production.imgix.net/2025/10/Truck-burn.jpg 2048w" sizes=" (max-width: 768px) 100vw, 768px" />Credit: Ryan Millsap</div>
Meanwhile, I faced an onslaught of media attacks and online smears. A former attorney filed a public lawsuit that became fodder for hit pieces in local and national outlets. Social media campaigns — many from self-identified Antifa supporters — accused me of everything from greed to corruption.
I worked hard to protect my family from all the chaos, but my wife bore the brunt of the stress, living under the shadow of Antifa’s harassment and online threats.
<h3>Where I Stand Today: Fighting For Truth</h3>
More than four years later, the 40 acres I still own remain undeveloped, stalled by the prolonged protests, various lawsuits, and political shenanigans.
I sold Blackhall in 2021 to Commonwealth Group, now Shadowbox Studios, and shifted my focus to other endeavors.
Meanwhile, Cop City finally opened, a victory for law and order despite Antifa’s relentless opposition. President Trump himself highlighted the facility at a roundtable with independent journalists, calling out Antifa’s role in the violence against projects like mine. Their funding, likely from shadowy leftist groups, has fueled the chaos, from car burnings to media smear campaigns, all to stop progress.
<div id="attachment_989643" style="width: 875px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-989643" class="wp-image-989643 size-large" src="https://dw-wp-production.imgix.net/2025/10/GettyImages-2151779643-865x576.jpg" alt="The Atlanta Public Safety Training Center, referred to as 'Cop City' by opponents, under construction in Atlanta, Georgia, US, on Wednesday, May 1, 2024. Alexander Cox Taylor runs the family conglomerate, Cox Enterprises Inc., while supporting civic causes in his hometown of Atlanta, including a new $110 million facility to train police and other safety officials. His first cousin, James Cox Chambers Jr., is using his own piece of the fortune to try to shut that very project down. Photographer: Elijah Nouvelage/Bloomberg via Getty Images" width="865" height="576" srcset="https://dw-wp-production.imgix.net/2025/10/GettyImages-2151779643-865x576.jpg 865w, https://dw-wp-production.imgix.net/2025/10/GettyImages-2151779643-300x200.jpg 300w, https://dw-wp-production.imgix.net/2025/10/GettyImages-2151779643-768x512.jpg 768w, https://dw-wp-production.imgix.net/2025/10/GettyImages-2151779643.jpg 1024w" sizes=" (max-width: 865px) 100vw, 865px" />The Atlanta Public Safety Training Center, referred to as &#8216;Cop City&#8217; by opponents, under construction on Wednesday, May 1, 2024. Photographer: Elijah Nouvelage/Bloomberg via Getty Images</div>
Through it all, my family has been my rock. My wife, kids, and I have faced these attacks together, though the strain of Antifa’s threats and character assassination nonsense has tested us. I have lost many friendships throughout the city and the world because of this manufactured toxicity. But my faith keeps me grounded, and I’m fighting to protect my legacy for my family and community.
This story isn’t just mine — it’s happening in other pockets of America.
Look at the Dakota Access Pipeline, where <a href="https://northdakotamonitor.com/briefs/north-dakota-us-working-to-settle-in-dispute-over-dakota-access-pipeline-protest-costs/">protests</a> against a $3.8 billion oil project in 2016 led to blockades, sabotage, and over 700 arrests, delaying completion and costing developers millions, all fueled by environmental and indigenous activism that echoed Antifa’s tactics.
Consider Tim Pool, the conservative podcaster who bought a derelict lot in West Virginia in 2023 to <a href="https://x.com/Timcast/status/1900216701108564402">build a skatepark</a> for local youth. His dream of a safe space for skaters to hang out was derailed by over two years of vandalism, gang tags, and anonymous threats, driven by opposition to his right-wing politics. Pool was forced to shut it down in 2025, a loss for the community he aimed to serve.
That’s not activism. That’s sabotage.
<h3>A Call For Courage</h3>
These cases and many others show how Antifa and their allies use funded protests, media hit jobs, digital attacks, and endless lawsuits to grind progress to a halt, targeting conservatives with anything they can manufacture to destroy them.
In sharing my experience, I hope to help expose Antifa’s playbook — using chaos and lies to silence those who dare build or challenge their agenda. It’s a call to stand up to their intimidation and defend the America that values hard work and entrepreneurial life.
The past four years have been brutal. Publicly, I’ve been vilified, my name dragged through the mud by Antifa’s allies in the media. But I won’t let terrorists define me. I’m still here, building, fighting, and believing in a country that rewards grit, intelligence, and an indefatigable spirit. They can burn my cars and spread lies, but they won’t break me, this country, or the truth.
To say that I’m excited that President Trump <a href="https://www.dailywire.com/news/trump-designates-antifa-a-major-terrorist-organization">designated Antifa</a> a terrorist group on October 7, 2025 after Charlie Kirk&#8217;s death is an understatement. I’ve known this truth for many years. These people hate America, hate Americanism, and want to see every hard-working, red-blooded American subjugated to their chaos. We must not let that happen.
* * *
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.
Ryan Millsap is an entrepreneur, investor, and the founder of Atlanta-based Blackhall Studios, the powerhouse production facility behind films like &#8220;Venom,&#8221; &#8220;Jumanji,&#8221; and &#8220;Jungle Cruise.&#8221; A lifelong builder and unapologetic American capitalist, Millsap has spent his career revitalizing communities through real estate, film, and philanthropy. He is also the host of The Blackhall Podcast where he interviews leaders shaping business, culture, and faith. Millsap continues to champion free enterprise, individual liberty, and the unbreakable American spirit from his home in Georgia.
* * *
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Activists In NYC Demonstrate Against Atlanta’s Planned “Cop City” Police Training Center

Four Years Under Siege: My Battle Against Antifa And The Chaos That Tried To Break Me

Antifa

Atlanta

Georgia

Lawsuit

Leftists

Opinion

Police

Suzanne Somers died two years ago, but her husband, Alan Hamel, insists that fans will be able to interact with her again via an AI clone he says is “amazing.”
Hamel and Somers were together for 55 years before she died in 2023 from breast cancer.
“It was Suzanne. And I asked her a few questions and she answered them, and it blew me and everybody else away,” the 89-year-old widower <a href="https://people.com/alan-hamel-suzanne-somers-ai-project-exclusive-11832986">told</a> People of the AI-generated clone meant to resemble his late wife. 
“When you look at the finished one next to the real Suzanne, you can’t tell the difference. It’s amazing. And I mean, I’ve been with Suzanne for 55 years, so I know what her face looks like. When I just look at the two of them side by side, I really can’t tell which one is the real and which one is the AI,” he added.
Hamel went on to explain how he and the developers created the AI version of Somers by using “all of Suzanne’s 27 books and a lot of interviews that she has done.&#8221;
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Hamel also insisted that Somers wanted the project to happen and had discussed it before her passing. 
“It was Suzanne’s idea. And she said, ‘I think we should do that.’ She said, ‘I think it’ll be very interesting and we’ll provide a service to my fans and to people who have been reading my books who really want and need information about their health,&#8217;” he told the outlet. “So that’s the reason we did it. And so I love being able to fulfill her wish.”
People magazine reports that fans will soon be able to interact with an AI version of Somers on her website.
“There’ll be people who will ask her about their health issues, and Suzanne will be able to answer them. Not Suzanne’s version of the answer, but it’ll go directly to the doctor she interviewed for that very issue, so it’ll be coming from an MD,” Hamel said.
“The first time I spoke to Suzanne AI, for the first two or three minutes, it was a little strange,” he added. “But after that, I forgot about the fact that I was talking to a robot and asking her questions and getting answers, and it happens that fast for me, getting used to the whole idea.”
&#8220;I feel really good about being able to deliver what Suzanne wanted and doing so that it&#8217;ll be something that basically will, should, go on for generations. I think our family loves the idea, really loves the idea,” he concluded.

Suzanne Somers

Suzanne Somers AI Clone Debuts Two Years After Her Death

There’s this mic-drop line in the trailer for Leonardo DiCaprio’s new film, “One Battle After Another”: “It’s not that hard, they/them.” 
When my husband and I heard it in theaters, we couldn’t help but shoot one another a look. We weren’t outraged; frankly, we were exhausted.
That zinger was clearly written to earn brownie points from a woke crowd, but it landed like a prepackaged corporate slogan. Any potential hype from the action movie trailer tanked the way an advertisement does when it tries too hard to sound like a movement.
But that’s where we’re at now. Even Hollywood trailers have a virtue-signal quota that writers type into scripts as proof that the studio has passed ideological inspections.
We’re not the only ones tired of it, apparently, since the whole notion of non-binary identities appears to be collapsing in on itself.
Sociologist Eric Kaufmann recently published data on <a href="https://x.com/epkaufm/status/1978074195767480659">X</a> that went viral, showing that the number of young people identifying as a non-binary “gender identity” — and even those identifying sexually as “queer” — has dropped dramatically.
<blockquote class="twitter-tweet">
1/ NEW: trans identification is in free fall among the young
(h/t <a href="https://twitter.com/fire?ref_src=twsrc%5Etfw">@FIRE</a> data in particular) <a href="https://t.co/i0Z1BNcWG8">pic.twitter.com/i0Z1BNcWG8</a>
— Eric Kaufmann (@epkaufm) <a href="https://twitter.com/epkaufm/status/1978074195767480659?ref_src=twsrc%5Etfw">October 14, 2025</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
Credit: @epkaufm/X.com
Meanwhile, heterosexual identification quietly, and unfashionably, has seen a rebound.
That’s not political backlash, however. People are fatigued by a fading trend.
For years, “gender identity” meant more than personal exploration. Frankly, it felt like a public performance. The internet made it oh-so-contagious; Hollywood made it fashionable. Then corporations made it profitable.
But the more that identity became a virtue to pander or a brand to adopt, the less authentic it felt.
I can think of no better example than actress and singer Demi Lovato, as her story shows the emotional cost better than any statistic. Her struggles were, as many child stars’ are, very public and very difficult to watch: childhood trauma, addiction, near-fatal overdoses, long stretches of recovery, and then a relapse. But in 2021, amidst all that turmoil, Lovato “came out” as non-binary and deemed her pronouns “they/them.”
At the time, she described her new identity as freeing, one that made sense. But let’s be honest, freedom built on instability isn’t lasting. By the next year, she quietly started using “she/her” pronouns again and told interviewers she had become “exhausted” by constantly explaining herself. Focus on that word. She wasn’t just fatigued by correcting strangers, she was clearly weary of trying to rebuild her life through a faulty label based on fiction.
Kaufmann’s research suggests that Lovato’s identity arc clearly mirrors what’s happening on a larger scale. The boom in “trans” and “non-binary” identifications also happened to coincide with historic spikes in depression, anxiety, and loneliness — especially during COVID-19 lockdowns. But now, as self-reported mental health appears to have improved, those identities appear to be declining.
One may not have directly caused the other, but the overlap is worth pondering. For many, that “non-binary” label could have been a survival mechanism of sorts, a way they could name their inner chaos and get it off their chest in a culture that began looking down on traditional anchors like family and even faith. And once Lovato returned to “she/her,” she signaled to the public she was in recovery. This summer, she even <a href="https://www.eviemagazine.com/post/demi-lovato-s-case-study-and-why-women-are-more-prone-to-mimetic-desire">married</a> her Canadian beau, looking absolutely stunning in a traditional white wedding dress to boot.
<div id="attachment_988273" style="width: 843px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-988273" class="size-large wp-image-988273" src="https://dw-wp-production.imgix.net/2025/10/GettyImages-2171634394-833x576.jpg" alt="HOLLYWOOD, CALIFORNIA - SEPTEMBER 12: Jordan Lutes and Demi Lovato attend the Los Angeles premiere of Hulu's 'Child Star' at NeueHouse Hollywood on September 12, 2024 in Hollywood, California. (Photo by Kevin Winter/Getty Images)" width="833" height="576" srcset="https://dw-wp-production.imgix.net/2025/10/GettyImages-2171634394-833x576.jpg 833w, https://dw-wp-production.imgix.net/2025/10/GettyImages-2171634394-300x207.jpg 300w, https://dw-wp-production.imgix.net/2025/10/GettyImages-2171634394-768x531.jpg 768w, https://dw-wp-production.imgix.net/2025/10/GettyImages-2171634394.jpg 1024w" sizes=" (max-width: 833px) 100vw, 833px" />Kevin Winter/Getty Images</div>
Even Hollywood gets the picture that the magic is wearing off. For years, Netflix and other leading platforms turned representation into their marketing strategies. They inserted gender lessons into everything from teen dramas to children’s cartoons.
The 2021 children’s animated show “Ridley Jones,” for example, had a talking bison come out as “non-binary” and ask his grandma to use “they/them” pronouns. The show was “quietly dumped” two years later, as <a href="https://www.dailymail.co.uk/news/article-11863181/Netflix-quietly-dumps-Ridley-Jones-bison-comes-non-binary-grandma.html">Daily Mail</a> put it, once that novelty wore off.
This show, and many other forms of pandering media, are storytelling failures. Audiences don’t want to watch a sermon or get lectured. They just want entertainment, and they instinctively recognize when something that once felt radical is now conventional.
So, we’re witnessing the rise and fall of a trend cycle. A movement went viral, institutions codified it, corporations co-opted it, and then … many followers moved on. It started as “liberation,” but it became the branding du jour, which always collapses under its own fickle weight.
Between the data points, I see something hopeful happening. People are quietly rediscovering that they don’t need to reinvent themselves to feel or be whole. To them, I say, “Welcome home.”
For years, authenticity was socially measured by how fluid you were willing to be, but now it matters more how anchored you can stay in the storm. We’ve spent a decade being told that “normal” is oppressive, but normalcy is looking hotter than ever.
And maybe people won’t want to admit they were wrong — I get it. No one likes to admit they had it all mixed up. But when my husband and I heard that “mic-drop” in the movie theater, we didn’t react with cynicism. We recognized that culture has reached a point where even the symbols of rebellion have become clichés.
That’s why this new data is less like a regression and more like a release. After years of confusion, people aren’t running backward, I promise. They’re running home to simplicity and to the peace of saying, “I’m fine with being me.”
* * *
Andrea Mew is the managing editor of IW Features, the grassroots storytelling arm of Independent Women, and a contributing writer for Evie Magazine.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.
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London Premiere Of “One Battle After Another”

Even Hollywood Is Growing Tired Of Pronouns

Cancel Culture

Demi Lovato

Gender Identity

Non-binary

Pronouns

Transgender

Woke Culture

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The family of actress Diane Keaton said her cause of death was pneumonia.
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Hollywood is still in mourning for the Oscar-winning actress, who died at the age of 79 on Saturday.
“The Keaton family are very grateful for the extraordinary messages of love and support they have received these past few days on behalf of their beloved Diane, who passed away from pneumonia on October 11,” a statement shared with <a href="https://people.com/diane-keaton-family-confirms-cause-of-death-grateful-support-11828660">People</a> said.
“She loved her animals and she was steadfast in her support of the unhoused community, so any donations in her memory to a local food bank or an animal shelter would be a wonderful and much appreciated tribute to her,” the statement went on.
A source told the outlet that her death was “unexpected” after a rapid decline in her health.
“In her final months, she was surrounded only by her closest family, who chose to keep things very private. Even longtime friends weren’t fully aware of what was happening,” the insider said.
Keaton, who was never married and adopted two children later in life, has been honored by many of her former Hollywood co-stars. Her former romantic partner, Woody Allen, said the world was “drearier” without her in it.
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Keaton had a <a href="https://www.dailywire.com/news/academy-award-winning-actress-diane-keaton-dead-at-79">long career</a> in film and television, making more than 60 films over six decades. In 1968, she was cast as an understudy in the Broadway musical “Hair,” and later appeared in Allen’s “Play It Again, Sam” in 1969.
In the 1970s, Keaton began her rise to stardom with roles in “The Godfather” and “Annie Hall,” another collaboration with Allen, for which she won the Academy Award for Best Actress.
Of working on “The Godfather,” Keaton told People: “I think the kindest thing that someone’s ever done for me … is that I got cast to be in The Godfather and I didn’t even read it. I didn’t know a single thing. … I just was going around auditioning. I think that was amazing for me. And then I had to kind of read the book.”
Keaton’s most notable roles included parts in “Crimes of the Heart,” “Father of the Bride,” “The First Wives Club,” and “Something’s Gotta Give,” among many others. She also worked in television, with roles in “Mannix” and, more recently, “The Young Pope” and “Amelia Earhart: The Final Flight,” for which she was nominated for an Emmy Award.

Diane Keaton

Diane Keaton’s Cause Of Death Revealed: Family Thanks Fans For Outpouring Of Love

Diane Keaton's Cause Of Death Revealed, Family Thanks Fans For Their Love

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