The very first thing I did after watching the trailer for a new documentary on John Candy was send it via text to my sister. She was at work, but I knew she would reply. The expected response came in just a few minutes.
“Why would you do this to me?”
She didn’t have to explain that she was sitting at her desk crying. I had done the same minutes earlier.
There’s no doubt that producer Ryan Reynolds and director Colin Hanks created “John Candy: I Like Me” — which premieres on Amazon Prime this Friday — to have this exact effect on adults who grew up watching Candy-led comedies. I was still young enough when he died of a heart attack in 1994 not to understand the depth of the entertainment world’s loss. 
But now I’m older and well-versed in the comedies currently being churned out in Hollywood. There’s a reason why, even when faced with an endless list of options on Netflix on a Friday night, I’m a lot more likely to select “Uncle Buck” for the umpteenth time than I am to pick a movie made in the last decade. 
It’s the same reason that my kids know our agenda for Thanksgiving Eve every year: a screening of “Planes, Trains, &amp; Automobiles.” Pass the popcorn. “Those aren’t pillows!”
It’s been three decades since Candy’s unexpected death at the age of 43, and people have been moved by this trailer because we desperately miss men like him in modern Hollywood. Candy was not a perfect person. But he was a genuine person — &#8220;a real one,&#8221; as the kids would say. That’s one trait that Hollywood&#8217;s been missing for decades.
The documentary, which premiered at the Toronto International Film Festival (TIFF) last month, left audiences laughing and crying because it showcased a rare kind of entertainer: a man who was funny without being cruel, warm without being fake, and, most impressively, talented without having an ego. 
He made the world laugh while making everyone feel totally at ease. Who else can say they’ve done that?
My sister and I were crying because to us, Candy reminds us of our own father — big, funny, mustachioed, often a little embarrassing, but with a huge heart. For everyone else, the Canadian star felt like a father figure, no matter what their actual dads looked or sounded like. He was America’s dad. We felt like we needed to protect him, and now that he’s gone, it’s his legacy that’s earned our fierce sense of loyalty.
That’s the magic of John Candy. In a business that rewards arrogance, he stood apart with the humility of someone who remembered where he came from. 
Steve Martin once <a href="https://www.yahoo.com/entertainment/steve-martin-tears-doc-recalling-142346260.html">said</a> Candy was “very sensitive and very complex and we really loved each other,” while Catherine O’Hara <a href="https://ruralradio.com/rrn/abc_news/stars-remember-john-candy-on-the-30th-anniversary-of-his-death-abcide22dd96c/#:~:text=Schitt's%20Creek%20Emmy%20winner%20Catherine,had%20that%20kind%20of%20swagger.%E2%80%9D">promised fans</a> he was “just as lovely as you’d want him to be.” That authenticity is what audiences connected with then, and it’s what will resonate all over again through the documentary.
It’s proven by how many of Candy’s former co-stars, even big-time players, were willing to participate in the project even three decades after his death. 
Martin, O’Hara, Bill Murray, Martin Short, Macaulay Culkin, Mel Brooks, and Dan Aykroyd all appear to share stories of their late co-star.
<iframe loading="lazy" title="John Candy: I Like Me - Official Trailer | Prime Video" width="500" height="281" src="https://www.youtube.com/embed/PrcQRsrBcCk?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>
“I can’t tell you what was right about John Candy, or what was wrong. But he was my friend,” Murray says in the trailer. “And … I don’t wanna cry, but when you see him, when you see his face….” he adds, trailing off as he begins tearing up.
What makes the documentary especially powerful is how much of it comes through the perspective of Candy’s children, Jennifer and Christopher. 
“He was the best dad,&#8221; Jennifer told Today. &#8220;He’d say, ‘Don’t worry what people think about you. Just be your authentic self.’”
That’s advice you’d expect from a counselor, not necessarily from one of the most famous comedians on the planet. But that was Candy through and through, exhibiting a tenderness at home that matched the sorts of people he played in movies.
In another moment, Jennifer reflected on stories of how her father looked out for young actors, including Culkin, who had a difficult relationship with his own father. 
“When we hear about Macaulay Culkin, that doesn’t surprise me because that’s who our dad was,” she explained. “He wasn’t going to just kind of ignore a kid because he was a kid actor and he was moving on to something else. It’s like he genuinely wanted to know.” 
The documentary doesn’t appear to shy away from Candy&#8217;s own struggles. He wrestled with anxiety, stress, and the pressure of constantly being “on.” The actor was complex, flawed, and human, which was part of what made him so likable. 
That duality is part of what audiences adored. He could play the bumbling uncle, the earnest underdog, or the unlikely leader of a Jamaican bobsled team. Through it all, he made you believe in human goodness. 
Candy’s characters reflected who he was: a decent person with a good heart. That’s what people connected with in the late ’80s and early ’90s, and it’s what people are craving again as Hollywood continues to lose the plot.
Reports from TIFF describe the documentary receiving standing ovations, laughter, tears, and an overwhelming sense of nostalgia, not just for Candy, but for what he represented. The actor is being celebrated as a Canadian treasure, but Candy’s impact was always bigger than just one country. He was the rare celebrity who transcended the usual divides because his brand of humor and humanity wasn’t political, it was universal. 
Everyone could laugh with John Candy. Everyone could feel like they knew him.
That’s the secret to his enduring legacy. We live in an era where comedy is floundering, unfunny, and usually exhaustingly partisan. Candy’s work is a reminder that humor can be wholesome without being boring, that kindness can be funny, that the best comedians are just out there being themselves.
“John Candy: I Like Me” isn&#8217;t just a chance to revisit his greatest hits. It&#8217;s an opportunity to introduce new generations to a man who changed comedy for the better. And it will be a reminder for the rest of us of what we’ve lost in Hollywood.
He wasn’t perfect, but he was rare. That’s why John Candy mattered then and why he matters now. Even though this documentary is going to be a real gut punch, it will hopefully also be a harbinger of things to come. 
As for my sister and me, we’re getting the tissues ready.

John Candy

John Candy Is Not My Father, But His Comedies Feel Like Home

Celebrities

Comedy

Entertainment

Hollywood

Movies

The White House plans deep cuts to “Democrat agencies” as the government shutdown continues, a terrorist attacks an Orthodox synagogue killing two and wounding more, and Leonardo DiCaprio stars in a new political blockbuster.
It’s Friday, October 3, 2025, and this is the news you need to know to start your day.
Morning Wire is available on video! You can watch today’s episode here:
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If you would rather listen to your news, today’s edition of the Morning Wire podcast can be heard below:
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<h2 style="text-align: center;">Shutdown Day 3</h2>
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Topline: The government shutdown enters its third day, as the blame game continues and President Donald Trump threatens mass firings of federal employees. 
The GOP strategy: The White House wants to make the shutdown about healthcare funding for illegal immigrants. It says the Democrat proposal would result in $200 billion in subsidies going to non-citizens over the next decade, primarily through Medicaid and mandatory emergency care. The White House argues that the American people elected President Trump to cut those exact policies, and by blocking him from doing so, Democrats are denying the will of the people.
White House Press Secretary Karoline Leavitt <a href="https://x.com/RapidResponse47/status/1973753810154889282">said</a>: “Trump ran on the promise to end taxpayer-funded benefits going to illegal aliens, and tens of millions of Americans voted him back to this beautiful White House to implement that promise … and now Democrats want to undo it — and they&#8217;re holding our country hostage.”
The White House says the United States will lose $15 billion in GDP revenue each week the shutdown drags on, and it wants to ensure Democrats bear the blame, posting news clips on social media describing national guardsmen going unpaid, food assistance for low-income single mothers drying up, etc.
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A number of federal websites had new banners on Thursday — the official Justice Department homepage, for example, read “Democrats have shut down the government … websites are not currently updated.” 
Trump’s austerity: The president is targeting “non-essential” federal employees for termination as part of his broader government efficiency efforts. He posted on social media that he “had a meeting today with Russ Vought, he of PROJECT 2025 Fame, to determine which of the many Democrat Agencies, most of which are a political SCAM, he recommends to be cut … I can’t believe the Radical Left Democrats gave me this unprecedented opportunity.”
<h2 style="text-align: center;">Yom Kippur Synagogue Attack</h2>
<img loading="lazy" decoding="async" class="alignnone size-medium wp-image-980287" src="https://dw-wp-production.imgix.net/2025/10/Manchester-Synagogue-Attacked-300x169.jpg" alt="" width="300" height="169" srcset="https://dw-wp-production.imgix.net/2025/10/Manchester-Synagogue-Attacked-300x169.jpg 300w, https://dw-wp-production.imgix.net/2025/10/Manchester-Synagogue-Attacked-1024x576.jpg 1024w, https://dw-wp-production.imgix.net/2025/10/Manchester-Synagogue-Attacked-768x432.jpg 768w, https://dw-wp-production.imgix.net/2025/10/Manchester-Synagogue-Attacked-1536x864.jpg 1536w, https://dw-wp-production.imgix.net/2025/10/Manchester-Synagogue-Attacked.jpg 1920w" sizes=" (max-width: 300px) 100vw, 300px" />
Topline: A knife-wielding man targeted a synagogue in Manchester, England, on Yom Kippur, the holiest day in the Jewish calendar.
The U.K.’s counterterrorism police have deemed the attack a “<a href="https://www.nytimes.com/live/2025/10/02/world/manchester-synagogue-stabbing-uk">terrorist incident</a>.”
Timeline: Authorities first received calls at around 9:30 a.m. local time about a man driving his vehicle into pedestrians outside the Heaton Park Hebrew Congregation synagogue. The suspect, identified as Jihad al-Shamie, a 35-year-old British citizen who is of Syrian descent, then got out of his vehicle and began stabbing people around him. Authorities have confirmed that two people have been killed and four others were injured.
The suspect was shot and killed by police about 7-8 minutes after authorities were first called. 
The attack: The terrorist was not able to enter the actual synagogue because the entrance was locked and barricaded. When he exited the vehicle, he immediately encountered synagogue security and other members who stopped him.
Step back: About 30,000 Jewish people reside in Manchester – outside of London, it’s home to the largest Jewish community in the country. Antisemitic incidents in the U.K. have hit record levels after the October 7th attack by Hamas in Israel. In the first half of this year alone, there have been more than 1,500 reported incidents.
<h2 style="text-align: center;">“One Battle After Another”</h2>
<img loading="lazy" decoding="async" class="alignnone size-medium wp-image-980285" src="https://dw-wp-production.imgix.net/2025/10/Silver-Screen-Politics-300x169.jpg" alt="" width="300" height="169" srcset="https://dw-wp-production.imgix.net/2025/10/Silver-Screen-Politics-300x169.jpg 300w, https://dw-wp-production.imgix.net/2025/10/Silver-Screen-Politics-1024x576.jpg 1024w, https://dw-wp-production.imgix.net/2025/10/Silver-Screen-Politics-768x432.jpg 768w, https://dw-wp-production.imgix.net/2025/10/Silver-Screen-Politics-1536x864.jpg 1536w, https://dw-wp-production.imgix.net/2025/10/Silver-Screen-Politics.jpg 1920w" sizes=" (max-width: 300px) 100vw, 300px" />
Topline: A new film by celebrated director Paul Thomas Anderson starring Leonardo DiCaprio is earning high praise from critics and solid numbers at the box office – but it’s also stirring up debate about its potentially polarizing political themes.
National Review contributor Giancarlo Sopo joined Morning Wire to discuss the film, “One Battle After Another.”
What is the film about? “I think to understand ‘One Battle After Another,’ you have to understand the book that it&#8217;s based on, and it&#8217;s Thomas Pynchon’s ‘Vineland.’ Essentially, it&#8217;s a story about a bunch of radicals who have gotten burned out, have attempted to attack government installations and institutions using violence. Now they are being hunted. So, it&#8217;s a satire, right? You’ve got radicals on one side, and then on the right, you&#8217;re going to have a bunch of racist, autocratic thugs, essentially, coming after them who are part of this paramilitary organization that is also tied, by the way, to a secret society of races called the Christmas Adventurers Club.”
Is it a political movie? “I think the film&#8217;s political sympathies are obviously with the progressive left. At the same time, though, I wouldn&#8217;t necessarily call it a political movie. I would look at it more as Antifa Star Wars, as a friend told me, where the politics and the radicalism is kind of used as a vehicle to tell a father-daughter story. You have this burned-out dad who spends all day smoking weed and watching ‘The Battle Of Algiers,’ bringing up a young daughter, who&#8217;s a teenager now, entirely by himself. And he&#8217;s having a hard time communicating with her. There are very funny, generational conflicts as tends to happen to those who have kids now are starting to figure that out.”
Is there any sympathy for people considered to be on the right in the film? “The thing with the movie is that no one&#8217;s really in the center, right? Or really the center left or much less the middle. It follows a set of extremists on both sides. And what the story is telling you on the political side is that these ideologies are pulling people away from what matters most to them in life, which should be their own children. There are very clear passages in the film that communicate that. I don&#8217;t think anyone is portrayed here sympathetically in the film, to be candid with you, with the exception of the teenage girl.”
&nbsp;

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Morning Brief: Shutdown Day 3, Deadly Synagogue Attack, And Leonardo DiCaprio’s New Political Movie

Donald Trump

Karoline Leavitt

Leonardo DiCaprio

Morning Wire

Terrorism

United Kingdom

White House

The Major League Baseball playoffs are here, which means the Boys of Summer are ready to battle for the ultimate prize – those oversized, coveted World Series rings.
What better time to look back at some of the very best baseball movies ever made? Some moved us or made us laugh. Others provided powerful lessons on the sport’s cultural impact.
All are worth a rewatch this time of year — in between playoff games, of course.
<h2>&#8220;The Natural&#8221;</h2>
<div id="attachment_978629" style="width: 417px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-978629" class="wp-image-978629 size-large" src="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-08-53-AM-3445-407x576.jpg" alt="Robert Redford. &quot;The Natural.&quot; copyright 1984 TriStar Pictures, Inc. All Rights Reserved. IMDB." width="407" height="576" srcset="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-08-53-AM-3445-407x576.jpg 407w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-08-53-AM-3445-212x300.jpg 212w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-08-53-AM-3445-768x1086.jpg 768w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-08-53-AM-3445-1086x1536.jpg 1086w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-08-53-AM-3445-1448x2048.jpg 1448w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-08-53-AM-3445-scaled.jpg 1810w" sizes=" (max-width: 407px) 100vw, 407px" />Copyright 1984 TriStar Pictures, Inc. All Rights Reserved. IMDB.</div>
This 1984 keeper casts Robert Redford as an aging ballplayer attempting an unlikely comeback. Those &#8220;natural&#8221; talents helped him get this far, but his complicated past suggests that even God-given skills may not be enough. The all-star cast includes Robert Duvall, Glenn Close, Kim Basinger, and Richard Farnsworth under the direction of Barry Levinson (&#8220;Diner&#8221;) in his cinematic prime. &#8220;The Natural&#8221; packs plenty of magical realism into the narrative, focused on redemption and our all-American passion for second acts.
<h2>“Bull Durham”</h2>
<div id="attachment_978637" style="width: 417px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-978637" class="size-large wp-image-978637" src="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-08-58-AM-8592-407x576.jpg" alt="Kevin Costner, Susan Sarandon. Bull Durham. Copyright 1988 Metro-Goldwyn-Mayer Studios Inc. All Rights Reserved. IMDB." width="407" height="576" srcset="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-08-58-AM-8592-407x576.jpg 407w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-08-58-AM-8592-212x300.jpg 212w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-08-58-AM-8592-768x1086.jpg 768w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-08-58-AM-8592-1086x1536.jpg 1086w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-08-58-AM-8592-1448x2048.jpg 1448w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-08-58-AM-8592-scaled.jpg 1810w" sizes=" (max-width: 407px) 100vw, 407px" />Copyright 1988 Metro-Goldwyn-Mayer Studios Inc. All Rights Reserved. IMDB.</div>
Kevin Costner at the dawn of his legendary career. Susan Sarandon selling a sultry big-league “whisperer” like no other. A gangly Tim Robbins playing an &#8220;aw-shucks&#8221; pitcher coming into his own. There’s so much to love about this baseball rom-com, from the inspired dialogue to the bittersweet story of a minor league lifer coming oh, so close to The Show only to be upstaged by the new kid. Director Ron Shelton’s affinity for sports movies played out over multiple films (“Blue Chips,” “Tin Cup”), but he got the elixir just right with this 1988 gem.
<h2>“Field of Dreams”</h2>
<div id="attachment_978645" style="width: 417px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-978645" class="size-large wp-image-978645" src="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-01-AM-2743-407x576.jpg" alt="Field of Dreams. 1989. Universal Pictures. Gordon Company. All rights reserved. IMDB." width="407" height="576" srcset="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-01-AM-2743-407x576.jpg 407w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-01-AM-2743-212x300.jpg 212w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-01-AM-2743-768x1086.jpg 768w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-01-AM-2743-1086x1536.jpg 1086w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-01-AM-2743-1448x2048.jpg 1448w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-01-AM-2743-scaled.jpg 1810w" sizes=" (max-width: 407px) 100vw, 407px" />Field of Dreams. 1989. Universal Pictures. Gordon Company. All rights reserved. IMDB.</div>
The 1989 sports fantasy has an almost spiritual pull on audiences, particularly sports fans. And understandably so. Once again, Costner is front and center in a story that weaves the national pastime together with fathers and sons, heartland USA, and redemption arcs.
The sublime cast, including Ray Liotta, Burt Lancaster (his final big-screen role), and James Earl Jones — who gives gravitas to the ultimate baseball movie.
“If you build it, they will come.” Try fighting back the goosebumps whenever that line is uttered. If the film isn’t enough, there’s a <a href="https://www.fieldofdreamsmoviesite.com/visit">Field of Dreams movie site attraction</a> in Dyersville, Iowa, for movie lovers.
<h2>“42”</h2>
<div id="attachment_978647" style="width: 417px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-978647" class="size-large wp-image-978647" src="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-07-AM-3910-407x576.jpg" alt="42. Warner Bros. Legendary Entertainment. 2013. All rights reserved. IMDB." width="407" height="576" srcset="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-07-AM-3910-407x576.jpg 407w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-07-AM-3910-212x300.jpg 212w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-07-AM-3910-768x1086.jpg 768w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-07-AM-3910-1086x1536.jpg 1086w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-07-AM-3910-1448x2048.jpg 1448w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-07-AM-3910-scaled.jpg 1810w" sizes=" (max-width: 407px) 100vw, 407px" />42. Warner Bros. Legendary Entertainment. 2013. All rights reserved. IMDB.</div>
This overlooked 2013 film recalls one of the sport’s most impactful players. Sure, Jackie Robinson broke the “color barrier” by becoming baseball’s first black player, but it&#8217;s how he did it, with grace, class, and nonviolence in his heart, that made him an icon.
The late, genuinely great Chadwick Boseman brings Jackie to life, capturing both the player and the man behind the moment. Harrison Ford’s supporting turn as Branch Rickey, the Dodgers’ owner who took the biggest risk of his professional life by inserting Robinson into the lineup, is the film’s most welcome surprise.
Had “42” been made a few years later, it might have been stained by woke sentiments. Instead, it’s a fitting tribute to an American hero.
<h2>“Moneyball”</h2>
<div id="attachment_978651" style="width: 417px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-978651" class="size-large wp-image-978651" src="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-11-AM-4954-407x576.jpg" alt="Moneyball. 2011. Sony Pictures Entertainment. Columbia Pictures. Scott Rudin Productions. Michael De Luca Productions. All rights reserved. IMDB." width="407" height="576" srcset="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-11-AM-4954-407x576.jpg 407w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-11-AM-4954-212x300.jpg 212w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-11-AM-4954-768x1086.jpg 768w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-11-AM-4954-1086x1536.jpg 1086w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-11-AM-4954-1448x2048.jpg 1448w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-11-AM-4954-scaled.jpg 1810w" sizes=" (max-width: 407px) 100vw, 407px" />Moneyball. 2011. Sony Pictures Entertainment. Columbia Pictures. Scott Rudin Productions. Michael De Luca Productions. All rights reserved. IMDB.</div>
A movie about baseball statistics? Yawn. Not even close in this case, thanks to the fascinating source material – author Michael Lewis’ tome of the same name.
Brad Pitt stars as GM Billy Beane in the story of the 2002 Oakland A’s, a mid-tier franchise that used a new approach to field a winning team. They couldn’t outspend the Yankees or Dodgers, but by deploying “sabermetrics” they defied the game’s odds.
It’s a fascinating look at modern baseball that&#8217;s given heft by a killer cast, including Jonah Hill, Chris Pratt, and Philip Seymour Hoffman.
<h2>“The Bad News Bears”</h2>
<div id="attachment_978673" style="width: 417px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-978673" class="size-large wp-image-978673" src="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-20-AM-9232-407x576.jpg" alt="The Bad News Bears. 1976. Paramount Pictures. All rights reserved. IMDB." width="407" height="576" srcset="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-20-AM-9232-407x576.jpg 407w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-20-AM-9232-212x300.jpg 212w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-20-AM-9232-768x1086.jpg 768w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-20-AM-9232-1086x1536.jpg 1086w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-20-AM-9232-1448x2048.jpg 1448w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-20-AM-9232-scaled.jpg 1810w" sizes=" (max-width: 407px) 100vw, 407px" />The Bad News Bears. 1976. Paramount Pictures. All rights reserved. IMDB.</div>
Put this one in the “They couldn’t make THAT” today Hall of Fame. Walter Matthau plays the crusty coach of a ne’er-do-well Little League team that has more fight in it than even he realizes.
What makes it “problematic?” Consider the infamous scene where Matthau’s character passes out on the pitcher’s mound after one too many brews. Or how teammates swap racial slurs as casually as relay throws.
That’s not why these “Bears” are unforgettable. The film teems with fascinating characters, from pitching whiz Amanda (Tatum O’Neal) to bad boy Kelly (Jackie Earle Haley). The championship game is a keeper, brimming with suspense and the cold realities baseball supplies. 
<h2>“Major League”</h2>
<div id="attachment_978685" style="width: 417px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-978685" class="size-large wp-image-978685" src="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-28-AM-5947-407x576.jpg" alt="Major League. Photo by Mirage Enterprises. Paramount Pictures. Morgan Creek Entertainment. Copyright 1989. All rights reserved." width="407" height="576" srcset="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-28-AM-5947-407x576.jpg 407w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-28-AM-5947-212x300.jpg 212w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-28-AM-5947-768x1086.jpg 768w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-28-AM-5947-1086x1536.jpg 1086w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-28-AM-5947-1448x2048.jpg 1448w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-28-AM-5947-scaled.jpg 1810w" sizes=" (max-width: 407px) 100vw, 407px" />Major League. Photo by Mirage Enterprises. Paramount Pictures. Morgan Creek Entertainment. Copyright 1989. All rights reserved.</div>
This 1989 corker captures the sillier side of baseball. The ensemble cast isn’t as deep as the Yankees’ Murderers’ Row, but everyone owned their parts to perfection. Tom Berenger. Charlie Sheen. Wesley Snipes. Corbin Bernsen. Bob Uecker. They’re all key elements in a seemingly inept Cleveland Indians (triggering!) franchise destined to lose enough games to spark the team’s sale.
Except they keep finding ways to win.
The comedy stays mostly faithful to the sport while doubling down on its colorful characters, crazy storylines, and underdog theatrics. Oh, and it’s relentlessly funny, even if it sparked two inferior sequels. 
<h2>“Eight Men Out”</h2>
<div id="attachment_978691" style="width: 417px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-978691" class="size-large wp-image-978691" src="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-31-AM-6690-407x576.jpg" alt="Eight Men Out. 1989. Orion Pictures. MGM. All rights reserved. IMDB." width="407" height="576" srcset="https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-31-AM-6690-407x576.jpg 407w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-31-AM-6690-212x300.jpg 212w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-31-AM-6690-768x1086.jpg 768w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-31-AM-6690-1086x1536.jpg 1086w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-31-AM-6690-1448x2048.jpg 1448w, https://dw-wp-production.imgix.net/2025/09/MixCollage-30-Sep-2025-09-31-AM-6690-scaled.jpg 1810w" sizes=" (max-width: 407px) 100vw, 407px" />Eight Men Out. 1989. Orion Pictures. MGM. All rights reserved. IMDB.</div>
“Major League” offered a palate cleanser a year after this sobering 1988 drama. Director John Sayles recreates the Black Sox Scandal, recalling how a pennant-winning team threw the World Series to appease the betting crowd. And, of course, earn a little scratch at a time when athletes weren’t as absurdly wealthy as they are today.
The White Sox assembled a &#8220;can’t-miss&#8221; squad of stars, but the persnickety owners refused to reward them for an unforgettable season. Enter some opportunistic gamblers who give key players an offer they should refuse, but don’t.
The strong cast includes D.B. Sweeney, John Cusack, and, yes, Charlie Sheen.
It’s baseball’s darkest hour, a cautionary tale that has kept the sport (mostly) clean ever since. We’ll leave the Barry Bonds debate for another day.
<h3><a href="https://get.dailywire.com/subscribe/plus/?utm_campaign=fall40&amp;utm_content=fallsale&amp;utm_medium=website&amp;utm_source=editorial">Get 40% off new DailyWire+ annual memberships with code FALL40 at checkout!</a></h3>
<h2>Honorable Mention: “The Naked Gun”</h2>
No, director David Zucker’s spoof classic isn’t a baseball film, per se, though the film’s extended finale does take place during a baseball game. Lt. Frank Drebin (Leslie Nielsen) impersonates an umpire to stop an assassination, finding himself calling balls and strikes in the process.
It’s one of the funniest moments of the film, capped by Drebin-the-umpire crying, “strike threeeee!” before the ball ever reaches the catcher’s mitt. It’s a perfectly silly baseball sequence, and one impossible not to include here.
* * *
Christian Toto is an award-winning journalist, movie critic and editor of <a href="https://www.hollywoodintoto.com/" target="_blank" rel="noopener">HollywoodInToto.com</a>. He previously served as associate editor with Breitbart News’ Big Hollywood. Follow him at <a href="https://www.hollywoodintoto.com/" target="_blank" rel="noopener">HollywoodInToto.com</a>.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.

MixCollage-27-Sep-2025-11-41-AM-2576

The Best Baseball Movies To Watch This Postseason

Baseball

Kevin Costner

Major League Baseball

Actor Rick Moranis retired from Hollywood almost three decades ago after the death of his wife, but now he’s returning to the silver screen alongside his former co-stars in a sequel to the 1987 cult classic, “Spaceballs.”
“Spaceballs 2” is now in production with a target release date in 2027. Moranis will reprise his role as Lord Dark Helmet in the sequel to the original space opera comedy, per a <a href="https://variety.com/2025/film/news/spaceballs-2-cast-rick-moranis-ends-retirement-1236529008/">report</a> from Variety. 
Other well-known stars tied to the project are Bill Pullman playing Lone Starr, Mel Brooks as Yogurt, Daphne Zuniga portraying Princess Vespa, and George Wyner as Colonel Sandurz, the outlet noted. There will also be new additions to the cast, including Josh Gad, Keke Palmer, Lewis Pullman, and Anthony Carrigan.
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Amazon MGM has not shared many details, but they released a photo of the cast doing a table read and wrote in a press release about the film, “the title is rumored to be the name of the movie, and plot details are being described as information about what happens in the story.”
<blockquote class="twitter-tweet">
Spaceballs The Table Read <a href="https://t.co/tn0NQaRb5g">pic.twitter.com/tn0NQaRb5g</a>
— Amazon MGM Studios (@AmazonMGMStudio) <a href="https://twitter.com/AmazonMGMStudio/status/1971213129590698341?ref_src=twsrc%5Etfw">September 25, 2025</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
Moranis is best known for his work in popular films such as “Ghostbusters” (1984), “Little Shop of Horrors” (1986), and the “Honey, I Shrunk the Kids” film franchise between 1989 and 1997. The outlet noted that Moranis left Hollywood following the death of his wife from liver cancer. 
He was slated to return in 2020 for a “Honey, I Shrunk the Kids” reboot, but production was halted during the COVID-19 pandemic. The actor was last seen in a film in 1997, though he has done voiceover work in several projects since.
The original “Spaceballs,” directed by Mel Brooks, is mostly a parody of “Star Wars,” but also mocks other popular films, including “Star Trek,” “Alien,” “The Wizard of Oz,” “2001: A Space Odyssey,” and “Planet of the Apes.&#8221;

Rick Moranis

Rick Moranis To Reprise Role In ‘Spaceballs 2,’ His First Film In Almost Three Decades

Production Begins On 'Spaceballs 2,' Rick Moranis' First Film In Almost 3 Decades

Mel Brooks

Disney has a “boy problem.” 
At least, that’s what a recent Variety <a href="https://variety.com/2025/film/news/disney-marvel-lucasfilm-gen-z-1236494681/">report</a> suggests, quoting insiders at the company who admit the entertainment company has lost the interest of Gen Z men that the outlet describes as a “lonely, gaming-obsessed group who were hampered in their formative years by COVID-19 lockdowns.” 
Disney executives are now hunting for answers, considering every conceivable tactic from “splashy global adventures” to old-fashioned “treasure hunts” in an effort to lure young men between the ages of 13 and 28 back to the House of Mouse.
But for Bill Rivers, a bestselling author and former Trump admin speechwriter, the diagnosis is clear. The problem with Disney isn’t the lack of over-the-top projects. In the end, he says, Disney alienated their audience by forcing an ideology that undermined the same values it used to celebrate. 
When asked for his initial reaction to Disney’s alleged “boy trouble,” Rivers blamed it squarely on the stories being told.
“It’s self-inflicted,” he told The Daily Wire via an email interview. “They’re going to have to ditch an ideology that sneered at masculinity, chivalry, righteous honor, power for noble purposes, the warrior ethos – all these things that coded as toxically male – and accept these attributes are actually good and necessary for any healthy society and worthy of exploring in entertainment.”
“This ideology was obviously anti-men,” Rivers added, “but the kicker is realizing it was also perniciously anti-women because it drove men out of the places women wanted to engage with them. Disney’s already taken the first step by recognizing they have a problem; the next step is to remain stubbornly open to stories they would have discarded as too traditional. It’s a time for tradition. Traditional stories stick around for a reason.”
A return to tradition, Rivers argues, is precisely what Disney needs to survive. “Unfortunately for Disney, it’s both,” he said when asked whether the issue was about content or a deeper cultural disconnect. 
“On content, the boldest thing Disney can do right now is return to traditional storytelling – courageous heroes, nasty villains, and incredibly high stakes for believable characters who wrestle with timeless challenges like family, romance, revenge, redemption. You can tell these stories in outer space or [a] small town in Appalachia, because setting matters less than plot and character.”
The overarching failure, according to Rivers, is how Disney treated young men for years.
“Regarding Gen Z men, Disney still treats them as if they don’t matter when it pushes cash-grab reboots aimed at them and not works of art crafted for them. ‘Star Wars,’ ‘Minecraft,’ the new superhero slop – this is the warmed-over childhood content of Millennials and Gen Xers. Worse, you’ve got these ideological political messages shoved in there. It totally kills the story,” Rivers said, noting how young men “hate being told what to think.”
For decades, Rivers notes, Disney never faced this problem. 
“Marvel, Star Wars, even Pirates of the Caribbean kept this 13–28 year old demographic engaged. What changed? Disney was fortunate to acquire some of the most compelling storytelling in American culture with the original Star Wars and Marvel comics. But these franchises were products of once-in-a-generation geniuses who did the creative heavy-lifting half a century ago or more. Ideological execs have squandered this inheritance for a payday or used them as a vehicle to ram political messages down their audiences’ throats. That’s propaganda, not storytelling.”
And “great storytelling,” Rivers insists, is hard to come by because the content creators have to trust their audiences to come to certain conclusions. That will never work if the studio openly despises them. 
That’s why Rivers disagrees with the suggestion floated in Variety that this problem can be solved by building new franchises centered on splashy adventures.
“Gen Z males are hungry for brotherhood and purpose. They want demanding missions where success is deeply consequential not just for them but for the people they care about. In the content they consume, that can involve treasure hunts and globe-trotting, but those things are secondary. Confusing them for the core is misguided and probably extremely expensive thinking for studio execs.”
The Variety piece described young men as isolated, stunted by COVID lockdowns, and obsessed with gaming. Rivers sees a half-truth there. 
“They are lonely, but I take issue with the ‘gaming-obsessed’ thing because that’s not what they are really after. … The boys weren’t stunted by COVID but by the people who used it as an excuse to get more control over society. By and large, those people subscribed to the same bad ideology that is basically anti-male, anti-woman, and anti-civilization.”
When asked what’s missing in today’s blockbusters, Rivers said it comes down to three things: “Authentic brotherhood. Transcendent purpose. Patriotism,” he said. 
“I write about young boys trying to become men, and all three of those things are critical to that. My novel ‘Last Summer Boys’ explores this in the Vietnam War-era of 1968, but it was a bestseller in 2022 because those are timeless concepts that people desperately want to engage with.”
“As a society, we become the stories we tell about ourselves,” the author said. “Disney understands this, it’s just for so long they injected their stories with an impoverished ideology. The blockbusters that say ‘to hell with that,’ and bring back brotherhood, purpose, and patriotism will dominate. By the way, women love those stories too.”
Despite the current state of entertainment, Rivers remains optimistic: “Disney can absolutely turn this thing around. It’s an iconic American company with an incredible legacy. Just as important, the country is at a moment where we as Americans are willing to do the hard work of renewing and reviving our greatest institutions. Disney can change from within, but it should also recognize America has no shortage of incredibly talented writers and storytellers who love this country and are willing to work with them. Hire those people. Acquire their stories.”
In fact, Rivers believes Disney’s crisis could be a blessing in disguise. “Really, Disney’s ‘boy trouble’ crisis is a gift for the company. Because the opportunity for them is enormous, and I don’t just mean commercially. If Disney starts telling authentic, powerful stories that men actually want to see, they will capture a rising demographic and participate in a renewal of American culture in a way worthy of the greatest institutions.”
Disney already admitted they have a problem – a classic first step. Now they just need to go about solving it in a way that doesn’t alienate young men even more.

Disney

Disney’s ‘Boy Trouble’ Is A Crisis Of Its Own Making. The Fix Doesn’t Require A Plot Twist

Disney's 'Boy Trouble' Is A Crisis Of Their Own Making, But There Is A Solution

Gen Z

The passing of Native American actor Graham Greene reminded us of the Oscar-winning 1990 film “Dances with Wolves.” The film cast Greene as Kicking Bird, and his screen time with director and star Kevin Costner set the table for the drama.
The film remains beloved for its portrait of the American West, many warts and all. It’s also emblematic of Costner’s career, one dedicated to the great outdoors in the grand American tradition.
Few actors have clung to that mythos like Costner, from his directorial breakthrough with “Dances with Wolves” to his most recent venture, the “Horizon” saga. Along the way, Costner has explored the American wilderness on screens large and small, creating a genuine affection for his country in the process.
<div id="attachment_969287" style="width: 825px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-969287" class="size-large wp-image-969287" src="https://dw-wp-production.imgix.net/2025/09/MixCollage-05-Sep-2025-04-37-PM-7630-815x576.jpg" alt="Kevin Costner in “Dances with Wolves” 1990. Tig Productions. Majestic Films International. Allied Filmmakers. Photo by Archive Photos/Getty Images copyright 2012. IMDB." width="815" height="576" srcset="https://dw-wp-production.imgix.net/2025/09/MixCollage-05-Sep-2025-04-37-PM-7630-815x576.jpg 815w, https://dw-wp-production.imgix.net/2025/09/MixCollage-05-Sep-2025-04-37-PM-7630-300x212.jpg 300w, https://dw-wp-production.imgix.net/2025/09/MixCollage-05-Sep-2025-04-37-PM-7630-768x543.jpg 768w, https://dw-wp-production.imgix.net/2025/09/MixCollage-05-Sep-2025-04-37-PM-7630-1536x1086.jpg 1536w, https://dw-wp-production.imgix.net/2025/09/MixCollage-05-Sep-2025-04-37-PM-7630-2048x1448.jpg 2048w" sizes=" (max-width: 815px) 100vw, 815px" />Kevin Costner in “Dances with Wolves” 1990. Tig Productions. Majestic Films International. Allied Filmmakers. Photo by Archive Photos/Getty Images copyright 2012. IMDB.</div>
He didn’t sugarcoat the land’s flaws then, and he refused to do so in subsequent projects. America’s natural beauty and potential proved his constant companion.
It explains why he endures as more than just a movie star at the age of 70. He’s part of the cultural fabric. And, even when he’s taking political stances that anger a good half of the country, his treasure trove of goodwill barely takes a hit.
Costner famously got left on the editing room floor in 1983’s“The Big Chill,” even though his character’s fate powered the nostalgia-laced drama. Director Lawrence Kasdan made amends to the young actor by casting him in the ensemble western “Silverado.”
<div id="attachment_969291" style="width: 720px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-969291" class="size-large wp-image-969291" src="https://dw-wp-production.imgix.net/2025/09/GettyImages-468733013-710x576.jpg" alt="CIRCA 1985: Actors Kevin Costner, Scott Glenn, Kevin Kline and Danny Glover on set the movie &quot;Silverado&quot; circa 1985. (Photo by Michael Ochs Archives/Getty Images)" width="710" height="576" srcset="https://dw-wp-production.imgix.net/2025/09/GettyImages-468733013-710x576.jpg 710w, https://dw-wp-production.imgix.net/2025/09/GettyImages-468733013-300x243.jpg 300w, https://dw-wp-production.imgix.net/2025/09/GettyImages-468733013-768x623.jpg 768w, https://dw-wp-production.imgix.net/2025/09/GettyImages-468733013.jpg 1024w" sizes=" (max-width: 710px) 100vw, 710px" />CIRCA 1985: Actors Kevin Costner, Scott Glenn, Kevin Kline and Danny Glover on set the movie &#8220;Silverado&#8221; circa 1985. (Photo by Michael Ochs Archives/Getty Images)</div>
From there, Costner landed “The Untouchables” (1987), “Bull Durham” (1988), and “Field of Dreams” (1989), a run of hits few actors could match, then or now. That gave him the clout to start shaping his career on his terms. And that led to “Dances with Wolves.”
The film may appear “woke” in retrospect, showcasing a guilt-ridden white man coming to terms with his country’s cruelty to Native Americans. Costner grounded the Western epic with respect for all its elements – from historical realities to the harsh truths about frontier life. 
Such messaging is often found in movies with what YouTube film and TV critic, The Critical Drinker, famously calls “The Message.” Costner, however, refused to lecture without context or push an agenda without exploring that time and place from all angles.
“Dances with Wolves” brought the nation’s complicated history to life, not with finger-wagging asides but a three-dimensional portrait that couldn’t be denied.
And, in the process, he forged a connection with American storytelling that became his unofficial identity. Costner has worked constantly since that film’s release, and his career has hit the usual bumps along the way.
He returned to the American West repeatedly over the years, from the unsung 2003 western “Open Range” to 1994’s “Wyatt Earp.” The latter got overshadowed by “Tombstone,” released a year earlier and featuring an iconic turn from Val Kilmer as Doc Holliday.
And, when his career appeared to be on the downside, Costner teamed with rising TV producer Taylor Sheridan to anchor “Yellowstone.” The Paramount series wasn’t set in the 1800s, but its Montana backdrop and timeless themes connected to the stories Costner knows best.
How many modern shows reflect the natural beauty of a state like Montana? For Costner and Sheridan, it just felt like home.
At a time when even “hit” TV shows draw a fraction of the audience of prior smashes, “Yellowstone” drew huge ratings. The show’s 2024 finale drew north of 13 million viewers.
<div id="attachment_969295" style="width: 825px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-969295" class="size-large wp-image-969295" src="https://dw-wp-production.imgix.net/2025/09/MixCollage-05-Sep-2025-04-50-PM-769-815x576.jpg" alt="Kevin Costner, Cole Hauser in &quot;Yellowstone, Watch 'Em Ride Away&quot;Photo by Courtesy of Paramount Network - copyright Paramount Network 2022" width="815" height="576" srcset="https://dw-wp-production.imgix.net/2025/09/MixCollage-05-Sep-2025-04-50-PM-769-815x576.jpg 815w, https://dw-wp-production.imgix.net/2025/09/MixCollage-05-Sep-2025-04-50-PM-769-300x212.jpg 300w, https://dw-wp-production.imgix.net/2025/09/MixCollage-05-Sep-2025-04-50-PM-769-768x543.jpg 768w, https://dw-wp-production.imgix.net/2025/09/MixCollage-05-Sep-2025-04-50-PM-769-1536x1086.jpg 1536w, https://dw-wp-production.imgix.net/2025/09/MixCollage-05-Sep-2025-04-50-PM-769-2048x1448.jpg 2048w" sizes=" (max-width: 815px) 100vw, 815px" />Kevin Costner, Cole Hauser in &#8220;Yellowstone: Watch &#8216;Em Ride Away&#8221; Photo by Courtesy of Paramount Network &#8211; copyright Paramount Network 2022</div>
The Sheridan saga featured a sprawling cast, but Costner’s John Dutton anchored the show. Once again, the actor’s instincts and authenticity made the series matter.
Actors can only fake so much. Audiences see the now weathered star as a credible and engaging part of the American landscape. He leaned on that persona for not one but two FOX Nation limited series based on Yellowstone history – “Yellowstone One Fifty” and “Yellowstone to Yosemite with Kevin Costner.”
Costner’s cinematic passions came to a head last year with a project that may never be completed as he originally envisioned it.
Costner returned to the director’s chair for 2024’s “Horizon: An American Saga.” The old-school western cost him a pretty penny, and then some. The star used his sizable wealth to help fund what he saw as a four-part movie saga.
The first installment drew modest reviews and tepid box office results – just $38 million worldwide. The second chapter, already filmed, currently lacks a release date, although it debuted at the Venice International Film Festival last year.
The actor has been open about struggling to fund parts three and four, and it’s possible the saga will end with the second film.
The irony? Costner began dreaming up the story behind “Horizon” in the late 1980s, just before his directorial breakthrough with “Dances with Wolves.” His quest to turn the American West into a deeply personal film franchise may have been doomed by fiscal realities, but it’s in line with Costner’s creative self.
He loves America, from its natural splendor to its ability to let citizens dream impossible dreams. And nowhere is that more evident than in the great outdoors.
* * *
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.

Fanatics Fest NYC 2025

Kevin Costner: The Wild Wild West Movie Star

actors

Montana

Yellowstone

Legendary film director Woody Allen delivered nothing but compliments when comedian and HBO host Bill Maher asked him about working with President Donald Trump, saying that he&#8217;d been professional and pleasant whenever they had interacted.
Allen, who worked with Trump for his 1998 film &#8220;Celebrity&#8221; made it clear that he and the president shared no common ground when it came to politics — but he told Maher that when it came to professional behavior on a film set, he had no complaints about Trump.
WATCH:
<blockquote class="twitter-tweet">
🚨NEW: Dem Filmmaker Woody Allen — who once directed Trump — *HEAPS PRAISE* on president&#8217;s acting🚨
&#8220;He was a pleasure to work with and a very good actor. He was very polite and hit his mark and did everything correctly and had a real flair for show business.&#8221;<a href="https://twitter.com/DailyCaller?ref_src=twsrc%5Etfw">@DailyCaller</a> <a href="https://t.co/tNJMzcjq46">pic.twitter.com/tNJMzcjq46</a>
— Jason Cohen 🇺🇸 (@JasonJournoDC) <a href="https://twitter.com/JasonJournoDC/status/1962489010481140131?ref_src=twsrc%5Etfw">September 1, 2025</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
&#8220;He was a pleasure to work with and a very good actor. He was very polite and hit his mark and did everything correctly and had a real flair for show business,&#8221; Allen said during a recent appearance on Maher&#8217;s &#8220;Club Random&#8221; podcast.
Maher jumped in with a joke then, noting that Allen — who has faced allegations of sexual misconduct — could soon find himself black-listed by even more people simply for praising Trump: &#8220;If you think you were canceled before &#8230;&#8221;
Maher himself had faced a fair amount of backlash for not only dining with President Trump at the White House, but for saying afterward that Trump had been <a href="https://www.dailywire.com/news/im-telling-you-it-happened-bill-maher-reveals-what-was-said-during-private-dinner-with-trump">very different</a> in person than he&#8217;d been portrayed by media.
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&#8220;I only wish I could direct him now,&#8221; Allen continued, and Maher laughed. &#8220;If he would let me direct him now that he’s president, I think I could do wonders. But he was very easy to work with.&#8221;
&#8220;I am a Democrat. I voted for Kamala Harris. And I take issue with him on 95% of the things, maybe 99%,&#8221; Allen said. &#8220;But as an actor, he was very good. He was very convincing and he had a charismatic quality as an actor. And I’m surprised he wanted to go into politics. Politics is nothing but headaches and critical decisions and agony. And this was a guy I used to see at the Knick games. And he liked to play golf and he liked to judge beauty contests and he liked to do things that were enjoyable and relaxing. And why anyone would want to suddenly have to deal with the issues of politics is beyond me. But apparently he doesn’t mind.&#8221;

DOUNIAMAG-SPAIN-US-CINEMA

‘A Pleasure To Work With’: Legendary Director Has Nothing But Praise For Donald Trump

'A Pleasure To Work With': Legendary Director Has Nothing But Praise For Donald Trump

Politics

Woody Allen

Rapper Snoop Dogg has angered LGBT activists with recent statements he made about the pervasiveness of gay storylines in children’s programming.
The 53-year-old recording artist, whose legal name is Calvin Cordozar Broadus Jr., made the remarks during an appearance on a recent episode of the “It’s Giving” podcast.
“What you see is what you see, and they’re putting it everywhere,” Snoop said before referencing the 2022 Disney film “Lightyear,” which featured a same-sex couple. 
“They’re like, ‘She had a baby with another woman.’ Well, my grandson, in the middle of the movie is like, ‘Papa Snoop? How she have a baby with a woman? She’s a woman!’” he went on.
The rapper said he thought,” ‘Oh sh**, I didn’t come in for this sh**. I just came to watch the g**damn movie.’” But his grandson wouldn’t let it go, and said,”’ They just said, she and she had a baby … they’re both women. How does she have a baby?’” 
Snoop said the whole thing “f***ed me up. I’m like, scared to go to the movies. Y’all throwing me in the middle of sh** that I don’t have an answer for.”
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“It threw me for a loop. I’m like, ‘What part of the movie was this? … These are kids,” he added. “We have to show that at this age? They’re going to ask questions. I don’t have the answer.”
<iframe loading="lazy" title="It&#039;s Giving...Showing Love To My Wife Doesn&#039;t Make Me Weak, It Makes Me Strong! With @snoopdogg" width="500" height="281" src="https://www.youtube.com/embed/bB6JDlXhAoE?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>
“Lightyear” caused a controversy leading up to its release due to the inclusion of a same-sex kiss, which was initially edited out, then restored in response to Florida’s Parental Rights in Education Bill, dubbed the “Don’t Say Gay Bill” by several legacy media outlets and leftists.
The film earned a paltry $226.4 million against a $200 million budget, meaning it likely lost money after factoring in marketing and other expenses. One Disney exec speculated in 2023 that the movie was a flop because they “asked too much of the audience” by doing a concept film based on the beloved “Toy Story” franchise. But critics say the boycotts and negative press surrounding the gay storyline were likely also a factor.
Many of Snoop’s left-wing followers are furious over his statements, evidenced by their insistence that he should be replaced as the headliner at the upcoming Australian Football League’s Grand Final, per <a href="https://ew.com/snoop-dogg-criticizes-lgbtq-representation-in-childrens-films-11796606">Entertainment Weekly</a>. 
This isn’t the first time critics have been angry. The rapper also caught heat for performing at a celebratory event before President Donald Trump’s January 2025 inauguration.

Snoop Dogg

Snoop Dogg Calls Out Hollywood For LGBT Themes In Children’s Films: ‘They’re Putting It Everywhere’

Snoop Dogg Calls Out Hollywood For LGBT Themes In Children’s Films: 'They're Putting It Everywhere' 

LGBT

Lightyear

“Basic Instinct” writer Joe Eszterhas, 80, recently discussed how he plans to approach a reboot of the 1992 thriller “Basic Instinct.” 
The film writer spoke again about his plans for the project, telling <a href="https://www.foxnews.com/entertainment/basic-instinct-writer-promises-anti-woke-reboot-sharon-stone-claims-original-film-ruined-her-image">Fox News Digital</a> that being politically correct has “stripped” films of real dialogue. 
&#8220;I think that the language has been, for political reasons, the truth has been gutted in some ways,&#8221; Eszterhas told the outlet in a newly published interview. &#8220;And yes, I hope that this ‘Basic&#8217; renewal will be as successful, language-wise, as the first one was.&#8221;
He mentioned specific lines with vulgarity, including when Stone’s co-star Michael Douglas, who played homicide detective Nick Curran, called her “the f*** of the century.”
Eszterhas said he’s glad there are conversations in the industry about political correctness. “DEI, it may be a noble concept, but it doesn&#8217;t work in drama and in film,&#8221; he added.
During an <a href="https://www.thewrap.com/joe-eszterhas-basic-instinct-reboot-trump-interview/">interview</a> last month with The Wrap, Eszterhas said the film was “anti-woke” before going into detail about how the main character will be “open about her sexuality” in addition to being, “raunchy at times,” “funny,” and “iconoclastic.”
In the first film, the character Catherine Tramell, a wealthy heiress, is played by Sharon Stone.
“In terms of the woke culture, I think that there is a segment of the population that’s had it with woke culture. But then there’s also a huge segment that hasn’t. I don’t believe in woke and I don’t believe in being politically correct because I think it’s not the truth, and I like the truth spoken,” Eszterhas at the time.
He added, “The absurdities come when a woman who is sexual and open about her sexuality, you know, the culture that that I grew up in would describe that woman as a nymphomaniac. If a man did the same thing he would be a stud.”
While Eszterhas said he’d love Stone to reprise her role as Tramell, the 67-year-old actress seems less enthused about the idea.
&#8220;If it goes the way the one I was in went, I would just say, ‘I don’t know why you do it. I mean, go ahead, but good f***ing luck,&#8221; she said during a Today show appearance this week.
Stone starred in “Basic Instinct 2” in 2006, but the film was panned by both audiences and critics. It currently has a 6% critic’s score and 26% audience rating on <a href="https://www.rottentomatoes.com/m/basic_instinct_2">Rotten Tomatoes</a>.

Basic Instinct

‘Basic Instinct’ Writer Discusses ‘Anti-Woke’ Reboot, Says DEI ‘Doesn’t Work’ In Film

 'Basic Instinct' Writer Discusses 'Anti-Woke' Reboot, Says DEI  'Doesn't Work' In Film

Wokeness

Your average film festival won’t screen “A Minecraft Movie,” “The Fantastic Four: First Steps” or “Nobody 2.” And that’s a good thing.
Festivals give indie filmmakers a chance to shine in a crowded marketplace. They also shake up the theatrical experience by pushing audiences out of their comfort zone.
In short, prepare to be challenged. The best art does just that.
<div id="attachment_961513" style="width: 830px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-961513" class="wp-image-961513 size-large" src="https://dw-wp-production.imgix.net/2025/08/GettyImages-2172182734-820x576.jpg" alt="TORONTO, ONTARIO - SEPTEMBER 15: Mike Downie accepts the &quot;People's Choice Documentary Award&quot; for &quot;The Tragically Hip: No Dress Rehearsal&quot; onstage at the TIFF 2024 Awards Ceremony during the 2024 Toronto International Film Festival at Luma on September 15, 2024 in Toronto, Ontario. (Photo by Jeremy Chan/Getty Images)" width="820" height="576" srcset="https://dw-wp-production.imgix.net/2025/08/GettyImages-2172182734-820x576.jpg 820w, https://dw-wp-production.imgix.net/2025/08/GettyImages-2172182734-300x211.jpg 300w, https://dw-wp-production.imgix.net/2025/08/GettyImages-2172182734-768x539.jpg 768w, https://dw-wp-production.imgix.net/2025/08/GettyImages-2172182734.jpg 1024w" sizes=" (max-width: 820px) 100vw, 820px" />TORONTO, ONTARIO &#8211; SEPTEMBER 15: Mike Downie accepts the &#8220;People&#8217;s Choice Documentary Award&#8221; for &#8220;The Tragically Hip: No Dress Rehearsal&#8221; onstage at the TIFF 2024 Awards Ceremony during the 2024 Toronto International Film Festival. (Photo by Jeremy Chan/Getty Images)</div>
Yet some modern film festivals are running from that unspoken promise. And, as is often the case, it involves cowardly programmers who refuse to provoke their presumably left-leaning audiences. In other situations, the festivals won’t stand behind art that could draw the wrong kind of crowd.
Protesters, to be specific, the kind that shout, “From the river to the sea…”
The latest, most embarrassing example? The Toronto International Film Festival (TIFF), one of the industry’s most prestigious events, recently <a href="https://deadline.com/2025/08/tiff-pulls-october-7-documentary-from-lineup-1236484968/comment-page-2/#comments">yanked an October 7 documentary</a> from its line up.
“The Road Between Us: The Ultimate Rescue” recalls how retired Israel Defense Forces General Noam Tibon saved Israelis targeted for death by Hamas terrorists during that cataclysmic day.
<div id="attachment_961501" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-961501" class="wp-image-961501 size-large" src="https://dw-wp-production.imgix.net/2025/08/GettyImages-1827492879-1-864x576.jpg" alt="TEL AVIV, ISRAEL - DECEMBER 02: Major General (Res.) Noam Tibon speaks during a rally calling for the remaining hostages to be released a day after the temporary truce ended outside The Museum of Modern Art known as the 'The Hostages and Missing Square' on December 2, 2023 in Tel Aviv, Israel. The rally’s speakers included recently released hostages and their families, as well as Israeli performers. The end of the weeklong ceasefire between Israel and Hamas has also meant a halt to negotiations over the return of more Israeli hostages being held in Gaza. One hundred and ten hostages - a combination of Israelis and foreign nationals - were released during the recent pause in fighting, under half the number estimated to have been taken captive by Palestinian militants on Oct. 7. (Photo by Alexi J. Rosenfeld/Getty Images)" width="864" height="576" srcset="https://dw-wp-production.imgix.net/2025/08/GettyImages-1827492879-1-864x576.jpg 864w, https://dw-wp-production.imgix.net/2025/08/GettyImages-1827492879-1-300x200.jpg 300w, https://dw-wp-production.imgix.net/2025/08/GettyImages-1827492879-1-768x512.jpg 768w, https://dw-wp-production.imgix.net/2025/08/GettyImages-1827492879-1.jpg 1024w" sizes=" (max-width: 864px) 100vw, 864px" />TEL AVIV, ISRAEL &#8211; DECEMBER 02: Major General (Res.) Noam Tibon. Alexi J. Rosenfeld/Getty Images</div>
But why cancel the documentary at all? TIFF officials initially said the film didn’t get the legal clearances for footage of Hamas soldiers attacking innocent Jews. That explanation drew instant ridicule, forcing TIFF to suggest it’s working to find a way <a href="https://deadline.com/2025/08/tiff-response-the-road-between-us-1236485877/">to solve the issues</a> and re-install the film into its lineup.
Now, an embarrassed TIFF says it will “<a href="https://nypost.com/2025/08/14/world-news/tiff-reverses-course-will-ensure-oct-7-doc-is-screened-following-swift-backlash/">ensure</a>” the film will screen at the September festival after a major media backlash.
The damage is done, no matter what kind of backpedal the festival attempts. Its absurd rationale is likely cover for the real issue – pro-Palestinian protesters would have swarmed the screening, as they’ve done countless times before.
<div id="attachment_961507" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-961507" class="size-large wp-image-961507" src="https://dw-wp-production.imgix.net/2025/08/GettyImages-1711807696-864x576.jpg" alt="TOPSHOT - Palestinians transport a reportedly captured Israeli person, in Khan Yunis in the southern Gaza Strip, on October 7, 2023. One month after Israel was wracked by Hamas attacks, life has been upended for both the Palestinians and Israel after it launched a war of reprisal in the Gaza Strip. The October 7 attacks by Hamas militants who stormed across from Gaza and struck kibbutzim and southern Israeli areas killed 1,400 people, mostly civilians, and deeply scarred the nation. The health ministry in Hamas-run Gaza says nearly 9,500 have been killed, two-thirds of them women and children, and mostly civilians. (Photo by AFP) (Photo by -/AFP via Getty Images)" width="864" height="576" srcset="https://dw-wp-production.imgix.net/2025/08/GettyImages-1711807696-864x576.jpg 864w, https://dw-wp-production.imgix.net/2025/08/GettyImages-1711807696-300x200.jpg 300w, https://dw-wp-production.imgix.net/2025/08/GettyImages-1711807696-768x512.jpg 768w, https://dw-wp-production.imgix.net/2025/08/GettyImages-1711807696.jpg 1024w" sizes=" (max-width: 864px) 100vw, 864px" />Photo by -/AFP via Getty Images</div>
Jewish artists (Michael Rapaport, Matisyahu) routinely find their shows canceled due to fear of pro-Palestinian protests. Festival-based violence could have ensued, although a strong show of force would likely prevent such an occurrence.
The Heckler’s Veto won. Again. It’s one reason why protesters keep on raising their voices. They get results.
Today’s festival programmer too often chooses to censor art rather than let it shine.
A more egregious example of festival cowardice? The Sundance Film Festival threw open its arms to “Jihad Rehab,” a celebrated film focusing on Muslim terrorists and their path to redemption.
The film actually screened the documentary in January 2022, coaxing two festival employees to resign in protest. That was just the beginning of the outrage. Some Muslim filmmakers howled over the film’s inclusion, arguing the film exposed the participants to potential danger. Others suggested the film’s director, a white woman named Meg Smaker, was the wrong person to tell the story.
<div id="attachment_961509" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-961509" class="size-large wp-image-961509" src="https://dw-wp-production.imgix.net/2025/08/GettyImages-2196257724-864x576.jpg" alt="PARK CITY, UTAH - JANUARY 27: (EDITORS NOTE: This image was shot with a fisheye lens.) People stand in front of the Egyptian Theatre along Main Street during the 2025 Sundance Film Festival on January 27, 2025 in Park City, Utah. (Photo by David Becker/Getty Images)" width="864" height="576" srcset="https://dw-wp-production.imgix.net/2025/08/GettyImages-2196257724-864x576.jpg 864w, https://dw-wp-production.imgix.net/2025/08/GettyImages-2196257724-300x200.jpg 300w, https://dw-wp-production.imgix.net/2025/08/GettyImages-2196257724-768x512.jpg 768w, https://dw-wp-production.imgix.net/2025/08/GettyImages-2196257724.jpg 1024w" sizes=" (max-width: 864px) 100vw, 864px" />David Becker/Getty Images</div>
Sundance later issued an apology for screening the film, and other festivals dropped “Jihad Rehab” from their lineups.
Smaker eventually won the PR war, with far-Left sites like The New York Times and The Atlantic rushing to her side. The film, retitled “The UnRedacted,” <a href="https://www.justwatch.com/us/search?q=the%20unredacted">still can’t be seen via VOD platforms, though.</a>
Still, the most recognizable film festival in the country couldn’t stand up for its own screened film. That sends a chilling signal throughout the creative community.
Pro-Palestinian pressure also got a trans-related documentary <a href="https://jewishjournal.com/commentary/columnist/editors-note/377538/french-transgender-film-gets-cancelled-because-it-made-israel-look-good/">canceled from a Belgium film festival last year</a>. “The Belle from Gaza” focused on a transgender Palestinian woman fleeing Gaza for her own safety and ending up in Tel Aviv.
Variety captured the current state of film festivals in 2023.
<blockquote>In fact, that quick-to-capitulate reflex underscores a new, unspoken modus operandi in which festivals — once the bastion of provocative, button-pushing fare — are desperate to avoid controversy and the wrath of any identity-focused Twitter mob. </blockquote>
It hasn’t gotten better since then. And there’s a second factor in play.
Modern film festivals display a sense of ideological uniformity that diminishes their cultural impact. Left-leaning features are commonplace, be it stories about abortion rights or pro-LGBTQ+ narratives.
Films that defy that ideology rarely, if ever, make the cut.
Imagine a film festival featuring “<a href="https://www.dailywire.com/videos/what-is-a-woman?row=0&amp;elementPosition=4&amp;rowType=Square+Show+Carousel">What Is a Woman?</a>” The Daily Wire’s blistering take down of progressive gender beliefs.
<div id="attachment_805851" style="width: 1034px" class="wp-caption aligncenter"><a href="https://www.dailywire.com/videos/what-is-a-woman?row=0&amp;elementPosition=4&amp;rowType=Square+Show+Carousel"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-805851" class="size-large wp-image-805851" src="https://dw-wp-production.imgix.net/2024/10/MixCollage-01-Oct-2024-04-20-PM-2436-1024x576.jpg" alt="What is a Woman?" width="1024" height="576" /></a>Matt Walsh/What is a Woman?</div>
What about “The Fall of Minneapolis,” a harrowing account of the media’s false narratives surrounding George Floyd’s 2020 death?
Or consider “What Killed Michael Brown?” That 2020 movie exposed similarly skewed narratives surrounding the Missouri resident’s 2014 death following a police interaction.
Had any of those films made the film festival cut it might have sparked protests, resignations or both. Cancellations might have followed.
Festival programmers, by insisting on ideological purity, keep these kinds of projects out of their lineups. And few audience members are challenged along the way.
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Even stories told by those holding unorthodox views may not get a festival closeup. Podcaster Adam Carolla has complained that his opinions have kept his apolitical racing documentaries from debuting in film festivals. The most extreme example? His 2020 documentary “Uppity,” a testament to Willy T. Ribbs, the first black race car driver to compete in the Indy 500, didn’t make the festival circuit.
The film checked enough progressive boxes to be included, and the few critics who reviewed the film raved about its content. That didn’t help Carolla crack the festival market.
Hollywood’s progressive groupthink remains a problem, keeping great stories and actors off screen. A similar sentiment holds with film festivals. A fear of social media controversy, and backbone deficit, is making matters worse.
* * *
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.

2025 Canada’s Walk Of Fame Induction Gala

Cowardice Is Killing The Spirit Of Modern Film Festivals

Documentaries

Hamas

Hostages

Israel

October 7

Sundance Film Festival

Toronto Film Festival

Director Ron Howard is reflecting on “Hillbilly Elegy,” the film he made about the early life of Vice President JD Vance, saying he’s surprised by the VP’s “divisive” rhetoric.
The filmmaker spoke with <a href="https://www.vulture.com/article/ron-howard-in-conversation.html">Vulture</a> about his current thoughts on the 2020 film starring Glenn Close and Amy Adams as Vance’s Mamaw and mother, respectively. Actor Gabriel Basso played the adult version of the VP.
The movie was based on Vance’s best-selling 2016 memoir by the same name.
“It remains a bit of a surprise to me,” Howard told Vulture of Vance’s trajectory to the White House. “I would not have seen it coming, and I wouldn’t have expected his rhetoric to be as divisive as it sometimes is. By the way, I’m not following him or listening to every word.”
“He was trying to run an investment fund. So the run for Senate and the strategy he’s chosen to follow are not what I would’ve expected,” he added.
“I don’t think about it,” Howard told Vulture of the film’s legacy. “I know it’s a mixed bag and probably quite culturally divided. I also know that reviews were bad and the audience-reaction rating was pretty good.”
<a href="https://get.dailywire.com/subscribe/plus/?utm_campaign=summer&amp;utm_content=editorialsummersale&amp;utm_medium=website&amp;utm_source=editorial" target="_blank" rel="noopener">End of Summer Sale – Get 40% off New DailyWire+ Annual Memberships</a>
When asked if he’s had any contact with Vance since filming and promoting the movie was done, the Oscar-winning director admitted he texted Vance after he won alongside Trump in 2024.
“I did one text, after the election, which was just sort of ‘Godspeed. Try to serve us well,&#8217;” Howard told the outlet.
Earlier this year, Basso said he doesn’t regret the part and thinks it’s “crazy” he played someone who eventually became vice president.
&#8220;It&#8217;s kind of weird to be included in that timeline,&#8221; the actor <a href="https://ew.com/gabriel-basso-says-it-was-weird-to-play-cool-dude-jd-vance-8778261">said</a> of the part.
&#8220;When he&#8217;s thinking about his life — they made a movie of his book, and my name will always be in the description,&#8221; Basso said. &#8220;We talked a little bit. He&#8217;s a cool dude. We&#8217;re both from the Midwest. We just talked about life — about growing up in the woods.&#8221;
Meanwhile Close insists that Vance is totally different now than he was on set. &#8220;I don&#8217;t know what happened,&#8221; the actress told the audience of “The View” in January. “Power is probably the biggest aphrodisiac for a human being.&#8221;
“Hillbilly Elegy” is about Yale Law student JD Vance (Basso) reflecting on his turbulent upbringing in a working-class Appalachian family and his struggle to break free from cycles of poverty and alcoholism. Told through flashbacks, it follows Vance’s relationship with his strong-willed grandmother (Close) and his troubled mother (Adams). Major themes include redemption, forgiveness, resilience, and strong family ties.

Ron Howard

Ron Howard Comments On Legacy Of Movie About JD Vance’s Life

Ron Howard Comments On Legacy Of Movie About JD Vance's Life

JD Vance

U.S.

Vice President

A new report from The Wall Street Journal explains how the USDA is using movie clips and popular music to keep hungry wolves away from livestock.
One clip of audio is from the 2019 drama “Marriage Story” starring Adam Driver, Scarlett Johansson, and Laura Dern. The film follows a couple going through a divorce while navigating custody issues over their son. The particular scene being used by the USDA, which has been popular among meme creators for years, shows the couple embattled in a heated argument. 
<a href="https://www.wsj.com/lifestyle/wolves-drones-livestock-ac-dc-scarlett-johansson-ed12d278">According</a> to WSJ, ranchers are using drones equipped with thermal cameras and spotlights to detect wolves at night, while loudspeakers blast unsettling sounds such as fireworks, gunshots, or even movie clips to keep the deadly predators at bay.
“I need the wolves to respond and know that, hey, humans are bad,” USDA district supervisor Paul Wolf told the outlet.
Playing these clips at high volume is known as “wolf hazing” and acts as a deterrent for wolves looking to turn livestock into a meal. During this hazing, the speakers blast songs such as Five Finger Death Punch’s “Blue on Black” and the AC/DC classic “Thunderstruck” to scare off the would-be predators. 
These drones are being used to protect the gray wolf population in the area, which is still on the endangered species list. But the article noted how the number of gray wolves has expanded since they were reintroduced into Yellowstone National Park in 1995.
WSJ noted that fewer calves were killed in southern Oregon after the drones were introduced. Over a period of 20 days, ranchers lost 11 cattle, but after 85 days of using the music and movie clip broadcasting drones, only 2 calves fell victim to the hungry wolves.
Whether &#8220;wolf hazing&#8221; can function as a long-term strategy for the USDA remains to be seen. Ranchers Jim and Mary Rickerts are unsure of its effectiveness if the wolves become used to the drones over time. &#8220;Hopefully they’re gonna be successful, but I’m kinda betting on the wolves, truth be known,” Jim Rickerts told The Wall Street Journal.

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