<a href="https://www.dailywire.com/topic/ellen-degeneres">Ellen DeGeneres</a> announced that her final stand up special, “Ellen DeGeneres: For Your Approval,” will premiere later this month on Netflix.
In a post on Tuesday on <a href="https://www.instagram.com/p/C_dcwPWvzkI/?igsh=MTBlZjE4YzMxOA%3D%3D">Instagram</a>, the 66-year-old comedian and talkshow host wrote, “My final stand up special, ‘Ellen DeGeneres: For Your Approval,’ will premiere September 24th on @Netflix.&#8221;
Earlier this year, <a href="https://www.dailywire.com/topic/ellen-degeneres">DeGeneres</a> announced she’d be returning to the streaming site for an hour-long comedy special, later saying it was likely her last. She also hinted that she will talk about the end of her successful talkshow in the new special.
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Over the summer, the former talkshow host did a couple small comedy shows in California, where it appeared she was working on her set in preparation for the Netflix special, as previously <a href="https://www.dailywire.com/news/ellen-degeneres-addresses-daytime-show-departure-during-stand-up-return">reported</a>.
At a nearly-sold out San Francisco Bay area show in Santa Rosa, <a href="https://www.dailywire.com/topic/ellen-degeneres">DeGeneres</a> addressed her departure from daytime TV following “toxic” workplace claims on “The Ellen DeGeneres Show” after 19 seasons, <a href="https://www.sfgate.com/sf-culture/article/ellen-degeneres-san-francisco-bay-area-santa-rosa-19551615.php?utm_campaign=socialflow&amp;utm_source=facebook.com&amp;utm_medium=facebook&amp;fbclid=IwZXh0bgNhZW0CMTEAAR2UgOYFAJjnKfe7h-kyYL5UVsLJE4W5ZctyoAfOZfi8-N6gQlp_Z7h5q7U_aem_bl6QZB2e12FbPOkIo46ZZQ">SF Gate</a> reported. A Buzzfeed report published in 2020 about “The Ellen Show” claimed it was a “toxic” workplace — full of intimidation and even alleged sexual abuse.
“Let me catch you up on what’s been going on with me since you last saw me,” the comedian told the crowd. “I got chickens. Oh yeah, and I got kicked out of show business for being mean.”
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“I used to say, ‘I don’t care what people say about me,'&#8221; she added. “Now I realize I said that during the height of my popularity.”
During her set, DeGeneres also pointed out that her recent ousting wasn’t the first time she was kicked out of show business, pointing back to when she said it first happened in 1997 when she came out as a lesbian.
“Next time, I’ll be kicked out for being old. Old, gay and mean, the triple crown,” DeGeneres joked. “I can be demanding and impatient and tough. I am a strong woman.”
“I am many things, but I am not mean,” she added.
The second special on Netflix from the former daytime talkshow host comes following her return to stand-up after 15 years in 2018’s “Relatable,” <a href="https://deadline.com/2024/05/ellen-degeneres-to-return-to-netflix-new-comedy-special-1235912082/">Deadline</a> reported.
Related: <a href="https://www.dailywire.com/news/ellen-degeneres-addresses-daytime-show-departure-during-stand-up-return" target="_blank" rel="noopener">Ellen DeGeneres Addresses Daytime Show Departure During Stand-Up Return</a>

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Actor Brian Cox bounces between film and TV shows with the greatest of ease.
Now, the “Succession” alum insists the <a href="https://www.hollywoodreporter.com/news/general-news/brian-cox-cinema-deadpool-wolverine-succession-eiff-marvel-1235977671/" target="_blank" rel="noopener">magic now happens on the small screen</a> following comments made at the Edinburgh International Film Festival Aug. 20.
“What’s happened is that television is doing what cinema used to do …  I think cinema is in a very bad way. I think it’s lost its place because of, partly, the grandiose element between Marvel, DC and all of that. And I think it’s beginning to implode, actually. You’re kind of losing the plot.”
Cox, who ironically played the heavy in 2003’s “X2: X-Men United,” called the recent smash “Deadpool &amp; Wolverine” “party time.”
Is he wrong?
<div id="attachment_785877" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-785877" class="size-large wp-image-785877" src="https://dw-wp-production.imgix.net/2024/08/GettyImages-2161057817-864x576.jpg" alt="LONDON, ENGLAND - JULY 12: Ryan Reynolds and Hugh Jackman attend the &quot;Deadpool &amp; Wolverine&quot; photocall at IET London on July 12, 2024 in London, England. (Photo by Dave Benett/WireImage)" width="864" height="576" srcset="https://dw-wp-production.imgix.net/2024/08/GettyImages-2161057817-864x576.jpg 864w, https://dw-wp-production.imgix.net/2024/08/GettyImages-2161057817-300x200.jpg 300w, https://dw-wp-production.imgix.net/2024/08/GettyImages-2161057817-768x512.jpg 768w, https://dw-wp-production.imgix.net/2024/08/GettyImages-2161057817.jpg 1024w" sizes="(max-width: 864px) 100vw, 864px" />Dave Benett/WireImage</div>
Yes, the theatrical box office made an impressive comeback this summer thanks to the aforementioned MCU smash, “Inside Out 2” and “Despicable Me 4.” 
Will any of those films stand out in five years? Ten? Can anyone remember the last few Best Picture winners? For the record, it’s “Oppenheimer,” “Everything Everywhere All at Once,” “CODA,” “Nomadland” and “Parasite” in descending order.
TV continually churns out both binge-worthy shows and dramas that immediately leave us addicted. Think “The Bear,” “Succession,” “House of the Dragon,” “Baby Reindeer” and “Severance.”
Some of the most popular actors now regularly appear on the small screen. Nicole Kidman. Jeff Bridges. Hugh Grant. Tom Hardy. Cillian Murphy. Meryl Streep. Harrison Ford. Chris Pratt. Mahershala Ali.
A small sub-section of superstars resist TV, like Tom Cruise, Brad Pitt and Denzel Washington. The rest? They can’t wait for HBO, Netflix or another streaming platform to ring up their agent.
You can blame iconic shows like “The Shield,” “The Wire,” “The Sopranos” and “Breaking Bad’ for changing the TV landscape for the better.
So much better.
<div id="attachment_785881" style="width: 874px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-785881" class="size-large wp-image-785881" src="https://dw-wp-production.imgix.net/2024/08/GettyImages-2036891638-864x576.jpg" alt="LOS ANGELES, CALIFORNIA - FEBRUARY 24: (L-R) The cast of Breaking Bad, RJ Mitte, Jonathan Banks, Bryan Cranston, Anna Gunn, Betsy Brandt, Dean Norris, Aaron Paul and Bob Odenkirk pose in the press room during the 30th Annual Screen Actors Guild Awards at Shrine Auditorium and Expo Hall on February 24, 2024 in Los Angeles, California. (Photo by Monica Schipper/FilmMagic,)" width="864" height="576" srcset="https://dw-wp-production.imgix.net/2024/08/GettyImages-2036891638-864x576.jpg 864w, https://dw-wp-production.imgix.net/2024/08/GettyImages-2036891638-300x200.jpg 300w, https://dw-wp-production.imgix.net/2024/08/GettyImages-2036891638-768x512.jpg 768w, https://dw-wp-production.imgix.net/2024/08/GettyImages-2036891638.jpg 1024w" sizes="(max-width: 864px) 100vw, 864px" />Monica Schipper/FilmMagic. Getty Images.</div>
Those shows featured film-quality production, exquisite storylines and performances that matured from season to season. They changed both TV and the way we consider small-screen originals.
Other industry changes helped shift TV into the cultural driver’s seat.
TV originals no longer demand 20-plus episodes from an actor’s work schedule. A series may wrap in anywhere from six to 12 installments, freeing up superstars to tackle film and TV projects.
Plus, Kevin Spacey, currently blacklisted for sexual abuse allegations, helped change this dynamic for actors everywhere. The two-time Oscar winner agreed to star in one of Netflix’s first major originals, the 2013 series “House of Cards.”
He rolled the professional dice and won. Now, most stars are happy to follow the path he blazed.
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Another reason TV often laps film? Hollywood’s chronic fear factor. Studios know the pandemic helped sever the bond between consumer and movie theater. They saw how many Americans stayed home to watch original fare on streaming platforms, a pattern still in place despite the pandemic’s end.
They’re desperate to keep the theatrical experience alive and profitable. Risk-averse executives crave the sugar rush of sequels, prequels and reboots. The bigger and louder, the better. And the bigger box office receipts, more than likely.
The top 10 box office winners in 2024 are all sequels, prequels, reboots and re-imaginings.
Plus, film budgets have grown so large that any attempt at nuance, creativity or eclectic storytelling is pushed aside. It’s lowest common denominator storytelling, and it must drive Cox crazy.
He’s not alone.
Modern TV also offers advantages that movies can’t replicate. No matter how good an actor or film may be, there’s a three-hour window at best to tell the story. Now, think of how Bryan Cranston approaches his iconic Walter White character in later “Breaking Bad” seasons.
He’s literally had years to grow into the role, to find new shadings to bring to his antihero.
Movie sequels could offer something similar, but they often defer to bigger! Louder! Faster! model.
The irony behind Cox’s statement? When he broke into the business with films like 1986’s “Manhunter,” actors longed to leave TV for film. Permanently.
<div id="attachment_785883" style="width: 885px" class="wp-caption aligncenter"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-785883" class="size-large wp-image-785883" src="https://dw-wp-production.imgix.net/2024/08/GettyImages-138291387-875x576.jpg" alt="Mel Gibson (right) directs actor Brian Cox in the film 'Braveheart', 1995. (Photo by Richard Blanshard/Getty Images)" width="875" height="576" srcset="https://dw-wp-production.imgix.net/2024/08/GettyImages-138291387-875x576.jpg 875w, https://dw-wp-production.imgix.net/2024/08/GettyImages-138291387-300x197.jpg 300w, https://dw-wp-production.imgix.net/2024/08/GettyImages-138291387-768x506.jpg 768w, https://dw-wp-production.imgix.net/2024/08/GettyImages-138291387.jpg 1024w" sizes="(max-width: 875px) 100vw, 875px" />Mel Gibson (right) directs actor Brian Cox in the film &#8216;Braveheart&#8217;, 1995. (Photo by Richard Blanshard/Getty Images)</div>
That’s how Bruce Willis treated his breakout 1980s series, “Moonlighting.” The affable star couldn’t wait to leave the small screen behind once “Die Hard” hit it big.
Bye, bye, TV.
Willis, who retired for health reasons two years ago, never looked back. Nor did other former TV stars like Clint Eastwood, Will Smith and George Clooney. TV was where young actors worked before getting called up to the big leagues.
Hollywood movies.
Now, actors understand they won’t necessarily be challenged by film projects. When “Top Gun: Maverick” alum Glen Powell’s star began to rise guess what happened next? Hollywood gave him roles in a remake “Backdraft” and “Twisters,” a reboot of the 1990s hit.
He’ll probably be itching to hear a TV pitch or two before long.
Hugh Grant’s recent career revival allowed him to play an orange-faced little person in 2023’s “Wonka.” On the small screen, his devastating turn in Max’s “The Undoing,” playing a philandering doctor accused of murder, likely gave him far more professional satisfaction.
Cox is an actor’s actor, a veteran who understands both the business and a hunger to create something memorable on screen.
Now, he understands that’s more likely to happen on a TV show.
* * *
Christian Toto is an award-winning journalist, movie critic and editor of <a href="http://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://twitter.com/HollywoodInToto?lang=en" target="_blank" rel="noopener">@HollywoodInToto</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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'Cinema Is In A Very Bad Way': Brian Cox On Why TV Shows Are Killing It

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<a href="https://www.dailywire.com/topic/rob-lowe">Rob Lowe</a>’s son, John Owen, talked about working on set with his dad, calling him a “complete idiot” and &#8220;so annoying&#8221; in a loving way.
The 29-year-old <a href="https://www.dailywire.com/topic/celebrities">actor</a> has been working with his father on the <a href="https://www.dailywire.com/topic/netflix">Netflix</a> series “Unstable,” a workplace comedy about an introverted man tasked with saving his eccentric biotech entrepreneur father and his father’s company from disaster following the death of his wife.
Lowe discussed their relationship during a recently published <a href="https://www.foxnews.com/entertainment/rob-lowes-son-says-complete-idiot-best-way">interview</a> with Fox News Digital.
&#8220;Professionally, I would say we found a groove, so we understood how to navigate each other&#8217;s behavior on set, which was not something we had ever experienced before,&#8221; Owen told the outlet. 
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&#8220;So, I think there was less frustration in that regard,&#8221; he added. &#8220;I won&#8217;t speak for him, but I will say for me, and I think that with that sort of additional respect for each other professionally, came some personal respect, just a modicum, just a tiny bit, but, it is very fun working with him. My dad, he is a complete idiot in the best way.&#8221;
Owen was quick to add that Lowe would be pleased to hear himself described this way. 
&#8220;I think he&#8217;d be thrilled that I&#8217;m saying that. He would take that as a compliment because he knows what I mean. He&#8217;s not stupid, but he is a fool,&#8221; Owen explained.
&#8220;I mean, who wouldn&#8217;t go insane working with their parents? It&#8217;s like that, you know? I think we all can relate to that in some way and my dad drives me insane,&#8221; Owen continued. &#8220;He is so annoying. Yeah, I get it. He&#8217;s a beloved, you know, person to many. I have unconditional love for him as my father, but I wouldn&#8217;t go as far as to say beloved.&#8221;
The actor added, &#8220;This is the least articulate I&#8217;ll be, but he&#8217;s just annoying. He&#8217;s really annoying. He comments on my hair and my clothes and how puffy my eyes are and why there are bags under my eyes in the morning and wants to know why I was up late and what I was doing. He&#8217;s nosy, and he wants to know about my personal life and who I&#8217;m dating and blah blah blah. He&#8217;s annoying.&#8221;
Owen also reflected on growing up as the son of a famous person. He said if he wins an Emmy at some point in his career, the audience will likely call him a “f***ing nepo baby.”
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The actor told Fox News, &#8220;Rob Lowe loves being Rob Lowe. That&#8217;s the truth. He loves it and I think he would tell you that. I think because he had a good perspective about it. He didn&#8217;t take it too seriously. I will credit him and my mom in saying that I think I have a good head on my shoulders about the byproducts of success in the entertainment industry, like fame and, and, but it&#8217;s weird.”
He added, &#8220;Truthfully, it&#8217;s weird growing up with a famous parent. It&#8217;s strange going to dinners when you&#8217;re a kid and people come over and want a photo or an autograph and then getting old enough that people are interested in you as their byproducts.&#8221;
Owen said, &#8220;It&#8217;s a funky feeling at times, but you learn how to deal with it, and it&#8217;s never that serious. It&#8217;s just not that deep.&#8221;

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Rob Lowe’s Son And Co-Star Says His Famous Father Is A ‘Complete Idiot’

Rob Lowe's Son And Co-Star Says His Famous Father Is A 'Complete Idiot'

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<a href="https://www.dailywire.com/topic/jd-vance">J.D. Vance’s</a> “Hillbilly Elegy” book sales and viewership of the movie based off his bestseller have soared after former <a href="https://www.dailywire.com/topic/donald-trump">President Donald Trump</a> named the Ohio Senator his vice presidential pick.
Following Trump’s announcement on Monday that Vance would be his running-mate in the 2024 election, Amazon sales for the VP nominee’s 2016 book in paperback and hardcover catapulted it to the best seller list, <a href="https://thehill.com/homenews/campaign/4774691-senator-jd-vance-memoir-amazon/">The Hill </a>reported.
As of Tuesday morning, “Hillbilly Elegy: A Memoir of a Family and Culture in Crisis,” was in the number one and two spot on Amazon, The Hill noted. Before the announcement on Monday, the book was at number 220, the <a href="https://apnews.com/article/jd-vance-hillbilly-elegy-trump-vp-candidate-1aab89b90ce7e8534556716930b23a1c">Associated Press</a> noted.
By Monday night, the AP reported that sales for  “Hillbilly Elegy” totaled at least 1.6 million copies.
By the same note, after Trump’s VP pick was announced, viewership on Netflix for the movie based on Vance’s book increased by 180% to 19.2M minutes watched on July 15, according to data from Luminate, <a href="https://deadline.com/2024/07/hillbilly-elegy-viewership-jd-vance-vice-president-pick-trump-1236011663/">Deadline noted</a>. The day prior, 1.5M minutes had been watched. Translated into individual viewers, that&#8217;s 164,000 viewers on Monday compared to the 9,000 the day before.
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‘Hillbilly Elegy’ Netflix views up 1000% since JD Vance named as Trump’s VP pick — No. 1 on Amazon <a href="https://t.co/EIxhmt5Cgk">https://t.co/EIxhmt5Cgk</a> <a href="https://t.co/XLP3r2b6y5">pic.twitter.com/XLP3r2b6y5</a>
— New York Post (@nypost) <a href="https://twitter.com/nypost/status/1813332311657570673?ref_src=twsrc%5Etfw">July 16, 2024</a></blockquote>
The book is <a href="https://www.amazon.com/Hillbilly-Elegy-J-D-Vance-audiobook/dp/B01EM4ZJBO/ref=sr_1_1?crid=2CEEVCA3DI5MR&amp;dib=eyJ2IjoiMSJ9.jm3ChvzKClxRaUknkYYqbCg8hIDSSh_2yiAgwAJVn1heWDSJ2MoyiLc_wMi4bMv8gF3njFiKNOa8RDUMCDdq5V3j7skY-TECJumlQz0LTPEpS556lGamk6eLNs23Qqwm_5umobGw1Sc1cx4KGgHZdd_Fxi-pwFvA4KRFgDhAJl_Sry4JRq8O0PVzPmqLR6_XKRhbzICcCelXXuQn-Gduscrz5xZg161VP_vjNnUHe7Y.81Ka8gHEDA_JTBgs39LF-SKNnSS32nBk48r7XGHdFho&amp;dib_tag=se&amp;keywords=hillbilly+elegy+by+j.d.+vance&amp;qid=1721244149&amp;sprefix=Hill%2Caps%2C221&amp;sr=8-1">described</a> on Amazon as “a passionate and personal analysis of a culture in crisis &#8211; that of white working-class Americans. The decline of this group, a demographic of our country that has been slowly disintegrating over 40 years, has been reported on with growing frequency and alarm but has never before been written about as searingly from the inside. J. D. Vance tells the true story of what a social, regional, and class decline feels like when you were born with it hung around your neck.”
“The Vance family story begins hopefully in postwar America. J. D.&#8217;s grandparents were &#8216;dirt poor and in love&#8217; and moved north from Kentucky&#8217;s Appalachia region to Ohio in the hopes of escaping the dreadful poverty around them,” it added. “They raised a middle-class family, and eventually their grandchild (the author) would graduate from Yale Law School, a conventional marker of their success in achieving generational upward mobility.&#8221;
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“Vance&#8217;s grandparents, his aunt, his uncle, his sister, and most of all his mother struggled profoundly with the demands of their new middle-class life and were never able to fully escape the legacy of abuse, alcoholism, poverty, and trauma so characteristic of their part of America,” the description continued. “Vance piercingly shows how he himself still carries around the demons of their chaotic family history.”
The book was later turned into a movie by director Ron Howard in 2020 and stars Gabriel Basso, Glenn Close, and Amy Adams.
Related: <a href="https://www.dailywire.com/news/very-confident-pick-ben-shapiro-reacts-to-trump-picking-j-d-vance-as-running-mate" target="_blank" rel="noopener">‘Very Confident Pick’: Ben Shapiro Reacts To Trump Picking J.D. Vance As Running Mate</a>

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Former talk show host <a href="https://www.dailywire.com/topic/ellen-degeneres">Ellen DeGeneres</a> told an audience she’s planning to be done with showbiz after her Netflix special.
The 66-year-old <a href="https://www.dailywire.com/topic/comedian">comedian</a> made the remarks last week during a stop in Santa Rosa, California, on her “Ellen&#8217;s Last Stand&#8230; Up” comedy tour, per <a href="https://www.sfgate.com/sf-culture/article/ellen-degeneres-san-francisco-bay-area-santa-rosa-19551615.php">SF Gate</a>. The tour will reportedly be the basis for her upcoming Netflix show.
“Let me catch you up on what’s been going on with me since you last saw me,” she said during the set. “I got chickens.”
“Oh yeah, and I got kicked out of show business for being mean,” DeGeneres added.
“I used to say, ‘I don’t care what people say about me.’ Now I realize I said that during the height of my popularity,” she continued.
Her popular daytime talk show ended in 2022 following a Buzzfeed report alleging a toxic workplace and personal character allegations against DeGeneres herself. One X thread <a href="https://www.news18.com/news/movies/comedian-kevin-t-porter-asks-netizens-to-share-ellen-degeneres-mean-stories-and-they-respond-2549525.html">went viral</a> after a fellow comedian asked people to share their stories about the talk show host being mean.
“I can be demanding and impatient and tough. I am a strong woman,” DeGeneres continued during the recent stand-up set. “I am many things, but I am not mean.”
During a Q&amp;A session, one fan asked if the celeb planned to appear on Broadway or in movies in the future.
“Um, no,” DeGeneres replied. “This is the last time you’re going to see me. After my Netflix special, I’m done.”
Another fan persisted, saying she’d love to see the former talk show host reprise her role as Dory from the animated Pixar film, “Finding Nemo.”
“No, I’m going bye-bye, remember,” she said.
DeGeneres began this comedy tour in June and recently canceled several stops without giving a reason, according to <a href="https://www.etonline.com/ellen-degeneres-says-shes-done-after-netflix-special-this-is-the-last-time-youre-going-to-see-me">Entertainment Tonight</a>. 
&#8220;To answer the questions everyone is asking me &#8212; yes, I&#8217;m going to talk about it. Yes this is my last special,” DeGeneres said in a statement about the tour. 
During a West Hollywood stop, DeGeneres <a href="https://variety.com/2024/tv/news/ellen-degeneres-quitting-hollywood-after-comedy-tour-1236065855/">said</a> it was “so hurtful” how her long-running show ended.
“I just thought, ‘Well this is not the way I wanted to end my career, but this is the way it’s ending.’ … I just hated the way the show ended,” she said. “I love that show so much and I just hated that the last time people would see me is that way.”

Ellen DeGeneres Says She’s ‘Done’ With Entertainment Biz After Netflix Special

Ellen DeGeneres Says She's 'Done' With Entertainment Biz After Netflix Special

comedian

Eddie Murphy and Tom Cruise have more in common than you think.
Both became superstars in the 1980s and haven’t left the A-list since. Each is in his early 60s (Cruise is 62, Murphy is 63) but looks much younger.
They also resurrected their classic ‘80s films for a new audience with grand results.
Murphy’s “Beverly Hills Cop: Axel F” isn’t the revelation that Cruise’s 2022 smash “Top Gun: Maverick” proved. Plus, the former debuted on Netflix, not in theaters nationwide.
Still, both films brought back that Reagan-era feeling while telling stories worth a fresh look. Neither apologizes for the past. Instead, they celebrate it.
<div id="attachment_759415" style="width: 1034px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-759415" class="wp-image-759415 size-large" src="https://dw-wp-production.imgix.net/2024/07/axel-f-vv-1024x426.jpg" alt="Photo by Melinda Sue Gordon/Netflix. Copyright 2024. Netflix, Inc. Copyright 2024“Beverly Hills Cop: Axel F”. Eddie Murphy, John Ashton, and Judge Reinhold." width="1024" height="426" srcset="https://dw-wp-production.imgix.net/2024/07/axel-f-vv-1024x426.jpg 1024w, https://dw-wp-production.imgix.net/2024/07/axel-f-vv-300x125.jpg 300w, https://dw-wp-production.imgix.net/2024/07/axel-f-vv-768x320.jpg 768w, https://dw-wp-production.imgix.net/2024/07/axel-f-vv-1536x639.jpg 1536w, https://dw-wp-production.imgix.net/2024/07/axel-f-vv.jpg 1920w" sizes="(max-width: 1024px) 100vw, 1024px" />Photo by Melinda Sue Gordon/Netflix. Copyright 2024. Netflix, Inc.</div>
It’s been 30 years since Axel Foley walked the beat. “Beverly Hills Cop 3” unofficially ended the franchise and good riddance. The formula was played out by then, and Murphy’s outsized talents deserved better.
Murphy wouldn’t let the character go, even mulling a TV incarnation with a younger star taking the reins as Axel’s son (Murphy would appear in the first episode and potentially pop up now and again).
He finally re-teamed with his old producer, Jerry Bruckheimer, for “Axel F.” Except we’ve been here before.
The 2021 Prime Video original “Coming 2 America” followed up on the actor’s other ‘80s comedy smash. The sequel packed little of “Coming to America’s” magic, swapping woke bromides for Murphy-sized guffaws.
Hard pass.
So a new “Beverly Hills Cop” project aroused more than just suspicion. Try desperation.
“Maverick” proved you can‘t ground a talent like Cruise. The same holds true for Murphy who knows Axel remains his signature role.
Screenwriters Will Beall, Tom Gormican and Kevin Etten concocted an excuse to lure Axel back to Beverly Hills where the cop is no longer a fish-out-of-water. His grown daughter Jane (Taylour Paige, excellent) is in trouble. She’s defending a young Latino man charged with killing a cop, but she suspects he’s innocent
That reveals another round of “Dirty Cop 101” along with an unctuous detective played by Kevin Bacon.
<div id="attachment_759419" style="width: 1034px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-759419" class="wp-image-759419 size-large" src="https://dw-wp-production.imgix.net/2024/07/axel-hbn-1024x425.jpg" alt="Photo by Melinda Sue Gordon/Netflix. Copyright 2024. Netflix, Inc. Copyright 2024“Beverly Hills Cop: Axel F”. Eddie Murphy, Kevin Bacon, John Ashton." width="1024" height="425" srcset="https://dw-wp-production.imgix.net/2024/07/axel-hbn-1024x425.jpg 1024w, https://dw-wp-production.imgix.net/2024/07/axel-hbn-300x124.jpg 300w, https://dw-wp-production.imgix.net/2024/07/axel-hbn-768x318.jpg 768w, https://dw-wp-production.imgix.net/2024/07/axel-hbn-1536x637.jpg 1536w, https://dw-wp-production.imgix.net/2024/07/axel-hbn.jpg 1920w" sizes="(max-width: 1024px) 100vw, 1024px" />Photo by Melinda Sue Gordon/Netflix. Copyright 2024. Netflix, Inc.</div>
Why does “Axel F” follow in the grand “Maverick” tradition?
For starters, neither bows to the woke mob. “Maverick” played it straight down the middle, avoiding the culture wars entirely. “Axel F” acknowledges the story exists in 2024 but it plays out sans lectures or gags that take you out of the moment.
When Axel teases a white cop on a racially-charged gag, his smile tells us he isn’t serious. It’s all in good fun.
Even Joseph Gordon Levitt’s character, a more sensitive cop for our times who briefly tells Axel his style no longer plays in today’s culture, learns that old-school approach gets results.
Both films understand why we cared about the main characters in the first place. Maverick may not play by the rules, but his spine is stiff and his moral compass points true north. Axel can talk his way out of any jam, and his police improvisations would make MacGyver blush.
It’s all about collaring the bad guys.
Neither “Maverick” nor “Axel F” deify our heroes. Cruise’s Maverick remains a hot head, and his romantic stumbles aren’t lost on his new love interest, Penny (Jennifer Connelly). Axel’s estranged relationship with his daughter didn’t happen accidentally. He’s a great cop and a misguided parent. He couldn’t navigate the balance between divorce and catching the bad guys.
Jane’s anger at her father appears justified, and “Axel F” isn’t ready to sweep it away for convenience’s sake. He must earn her trust again.
“Maverick” and “Axel F” teem with nostalgic throwbacks. The former brings Iceman (Val Kilmer) back for a bittersweet coda, and we see images of the late Goose (Anthony Edwards) to spark our tear ducts.
“Axel F” features the boyish Billy (now a 60-something Judge Reinhold), Taggart (John Ashton) and, of course, Serge (Bronson Pinchot).
<div id="attachment_759421" style="width: 894px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-759421" class="size-large wp-image-759421" src="https://dw-wp-production.imgix.net/2024/07/GettyImages-2158535205-884x576.jpg" alt="BEVERLY HILLS, CALIFORNIA - JUNE 20: Bronson Pinchot, Judge Reinhold, Eddie Murphy, John Ashton and Paul Reiser attend Los Angeles premiere of Netflix's &quot;Beverly Hills Cop: Axel F&quot; at Wallis Annenberg Center for the Performing Arts on June 20, 2024 in Beverly Hills, California. (Photo by Kayla Oaddams/WireImage)" width="884" height="576" srcset="https://dw-wp-production.imgix.net/2024/07/GettyImages-2158535205-884x576.jpg 884w, https://dw-wp-production.imgix.net/2024/07/GettyImages-2158535205-300x195.jpg 300w, https://dw-wp-production.imgix.net/2024/07/GettyImages-2158535205-768x500.jpg 768w, https://dw-wp-production.imgix.net/2024/07/GettyImages-2158535205.jpg 1024w" sizes="(max-width: 884px) 100vw, 884px" />Kayla Oaddams/WireImage</div>
We even see glimpses of the previous “Cop” movies via a case files montage.
The films also boldly replays the greatest hits from the ‘80s, witness “Danger Zone,” “Neutron Dance” and, of course, “The Heat Is On.” Great pop songs never go out of style.
Murphy and Cruise didn’t want to embarrass themselves with these belated sequels. Both are hands-on talent at this point, serving as producers on their requisite films. They likely realized playing to the increasingly small woke audience would not only diminish the films in question but, perhaps, their legacies.
Murphy, in particular, may have realized why making “Coming 2 America” woke did him and the film few favors.
You don’t stay relevant in Hollywood for four decades without connecting with the American public. These stars instinctively knew we wanted to spend more time with Maverick and Axel again, but not in a way that diminished our memories.
We feel the need for nostalgia, and “Maverick” and “Axel F” deliver.
* * *
Christian Toto is an award-winning journalist, movie critic and editor of <a href="http://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://twitter.com/HollywoodInToto?lang=en" target="_blank" rel="noopener">@HollywoodInToto</a>.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.

axel fffs

‘Beverly Hills Cop: Axel F,’ ‘Maverick,’ And The Return Of The Reagan ’80s

'Beverly Hills Cop: Axel F,' 'Maverick,' And The Return Of The Reagan '80s

Eddie Murphy

Hollywood

Readers Pass

Tom Cruise

“Orange is the New Black” star <a href="https://www.dailywire.com/topic/hollywood" target="_blank" rel="noopener">Lea DeLaria</a> went on an unhinged rant telling President Joe Biden that he has no other options but to “take that b**** Trump out.”
In a video post on <a href="https://www.instagram.com/p/C84-XGwSkit/?hl=en">Instagram</a>, the 66-year-old actress compared former President Donald Trump to Adolf Hitler and said Biden must “blow him up.” The video came in response to the Supreme Court&#8217;s decision that presidents have immunity from criminal prosecution for official acts, thereby majorly hampering the criminal cases against Trump.
“The Supreme Court has pissed me off so much right now, like so much,” DeLaria started her video. “Joe [Biden], you are a reasonable man. You don’t want to do this, but here’s the reality, this is a f***ing war. This is a war now, and we are fighting for our f***ing country.”
“And these a**holes are going to take it away. … Joe, you now have the right to take that b**** Trump out,” she added. “Take him out, Joe. If he was Hitler and this was 1940, you’d take him out. Well, he is Hitler, and this is 1940. Take him the f*** out.”
<blockquote class="twitter-tweet">
Hi <a href="https://twitter.com/SecretService?ref_src=twsrc%5Etfw">@SecretService</a>, you’re looking for Lea DeLaria <a href="https://twitter.com/realleadelaria?ref_src=twsrc%5Etfw">@realleadelaria</a>. <a href="https://t.co/9jTxgVmgBq">pic.twitter.com/9jTxgVmgBq</a>
— Libs of TikTok (@libsoftiktok) <a href="https://twitter.com/libsoftiktok/status/1808208617327460775?ref_src=twsrc%5Etfw">July 2, 2024</a></blockquote>
“Blow him up. Blow him up or they’ll blow us up. Facts,” DeLaria concluded her video, without explaining further who “they” were.
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She captioned her post, “F*** TRUMP! F*** the GOP. F*** YOU ANTI DEMOCRACY A**HOLES!! It’s all out war now. They will destroy us.”
“They only want power … like all tyrants,” she added. “F*** THEM!!! And if any of you a**holes wanna death threat me like you have been doing for my entire life, bring it on, b****. I’m Sicilian, I know how to play that game.&#8221;
The post caught the attention of <a href="https://x.com/libsoftiktok/status/1808208617327460775">Libs Of TikTok</a>, who first shared the post and wrote, “LGBTQ activist and actor with over 1M followers goes on unhinged meltdown and calls on Biden to “take him [Trump] out” and “blow him [Trump] up” @SecretService @FBI.”
The account then sent a follow-up post directed at the Secret Service to get their attention that the actress was calling for the assassination of Trump. “Hi @SecretService, you’re looking for Lea DeLaria @realleadelaria,” the post read.
DeLaria’s post followed an earlier viral post from BBC Radio 4&#8217;s &#8220;Briefing Room&#8221; show host David <a href="https://www.foxnews.com/media/bbc-host-deletes-post-calling-biden-have-trump-murdered-after-backlash-says-satire">Aaronovitch</a> calling for Biden to have Trump assassinated, later claiming it was “satire.” 
&#8220;If I was Biden I&#8217;d hurry up and have Trump murdered on the basis that he is a threat to America&#8217;s security,&#8221; Aaronovitch posted on X before he deleted it.
The post drew backlash and the BBC host pushed back.
&#8220;There’s now a far right pile on suggesting that my tweet about the Supreme Court’s ruling on presidential immunity is an incitement to violence when it’s plainly a satire,” the host said in a <a href="https://x.com/DAaronovitch/status/1807829423032299929">second post</a>. “So I’m deleting it. If nothing else though it’s given me a map of some the daftest people on this site.”

Orange Is The New Black

‘Orange Is The New Black Star’ Goes On Unhinged Rant Telling Biden To ‘Take That B**** Trump Out’

'Orange Is The New Black Star' Goes On Unhinged Rant Telling Biden To 'Take That B**** Trump Out'

Joe Biden

Streaming giant <a href="https://www.dailywire.com/topic/netflix">Netflix</a> announced on Tuesday plans to open massive entertainment complexes in two U.S. cities featuring stores, restaurants, and other experiences.
The <a href="https://www.dailywire.com/entertainment">Netflix House</a> venues have scheduled opening dates in 2025, per the <a href="https://www.netflix.com/tudum/articles/netflix-house">promo page</a>. One will be in King of Prussia, Pennsylvania, located in the metro Philadelphia area, and the other will be in Dallas, Texas. 
In addition to places to eat and shop, visitors will also have access to experiential activities based on some of the most popular Netflix shows, such as &#8220;Bridgerton,&#8221; &#8220;Stranger Things,&#8221; and &#8220;Squid Game.&#8221;
Both venues are being added to existing malls in spaces previously occupied by department stores. Each venue has more than 100,000 square feet and attracts a massive amount of foot traffic. 
“At Netflix House, you can enjoy regularly updated immersive experiences, indulge in retail therapy, and get a taste — literally — of your favorite Netflix series and films through unique food and drink offerings,” Marian Lee, Netflix’s Chief Marketing Officer, said of the new entertainment venues. 
“We’ve launched more than 50 experiences in 25 cities, and Netflix House represents the next generation of our distinctive offerings. The venues will bring our beloved stories to life in new, ever-changing, and unexpected ways.”
The promo page describes Netflix House as a “fan fever dream” and already lists several options focused on some of the most popular shows.
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“Imagine waltzing with your partner to an orchestral cover of a Taylor Swift song on a replica of the Bridgerton set –– and then walking around the corner to compete in the Glass Bridge challenge from Squid Game,” the description says. 
“After pretending to fight for your life, you’ve worked up an appetite and want to get a bite. You see a nearby restaurant with food inspired by Netflix shows from around the world; the meal is memorable, but you still want to buy some Stranger Things merch. Luckily, there’s a shop that sells that Hellfire Club T-shirt you’ve always wanted.”
Some previous Netflix live fan experiences include a live-action “Stranger Things” stageplay prequel in London, “Bridgerton” high tea, a “Knives Out” dinner theater in Toronto, and an ultimate zombie battle in Las Vegas.

Netflix Will Open Two Entertainment And Shopping Centers In 2025

Business

General

Mall

Pennsylvania

Texas

A new Netflix World War II documentary series draws a straight line from Adolf Hitler to former President Donald Trump when it refers to an idyllic mountain retreat frequented by the Nazi dictator as &#8220;Hitler&#8217;s Mar-a-Lago.
The six-episode docuseries, titled &#8220;Hitler and the Nazis: Evil on Trial,&#8221; purports to dig into &#8220;Hitler and the Nazis&#8217; rise, rule and reckoning from pre-WWII to the Holocaust to the Nuremberg trials.&#8221;
Comedian, filmmaker, and documentarian Eric Abbenante posted a clip from the series, explaining, &#8220;Netflix&#8217;s WW2 documentary &#8216;Evil on Trial&#8217; describes Hitler&#8217;s holiday residence (The Berghof) as &#8216;Hitler&#8217;s Mar-a-Lago&#8217;: &#8216;It&#8217;s sort of like Hitler&#8217;s Mar-a-Lago, if you will. Gave Hitler the sense that he was on top of the world without having to deal with the messiness of everyday politics.&#8217; Yes because Trump&#8217;s government used the Nazi term &#8216;The Big Lie&#8217;, created &#8216;domestic terrorism&#8217; organizations that encouraged citizens to snitch on each other, and jailed political dissidents, just like Hitler. Oh wait, that was the Biden administration.&#8221;
<blockquote class="twitter-tweet">
Netflix&#8217;s WW2 documentary &#8216;Evil on Trial&#8217; describes Hitler&#8217;s holiday residence (The Berghof) as &#8216;Hitler&#8217;s Mar-a-Lago&#8217;: 
&#8220;It&#8217;s sort of like Hitler&#8217;s Mar-a-Lago, if you will. Gave Hitler the sense that he was on top of the world without having to deal with the messiness of… <a href="https://t.co/2QHKsmL5dd">pic.twitter.com/2QHKsmL5dd</a>
— Eric Abbenante (@EricAbbenante) <a href="https://twitter.com/EricAbbenante/status/1801700214517952801?ref_src=twsrc%5Etfw">June 14, 2024</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
&#8220;It&#8217;s sort of like Hitler&#8217;s Mar-a-Lago, if you will,&#8221; Anne Berg said in the clip. &#8220;A kind of retreat in the Bavarian Alps that has a closeness to nature, the spectacular mountain panorama that gave Hitler the sense that he was on top of the world without having to deal with the messiness of everyday politics.&#8221;
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Abbenante further noted that the intentional comparisons between the Nazis in the 1930s and 1940s and Trump supporters in America did not end there.
&#8220;There is a constant refrain of &#8216;Make Germany Great Again&#8217; trying to draw parallels to the MAGA movement,&#8221; he said.
<blockquote class="twitter-tweet">
There is a constant refrain of &#8216;Make Germany Great Again&#8217; trying to draw parallels to the MAGA movement.
— Eric Abbenante (@EricAbbenante) <a href="https://twitter.com/EricAbbenante/status/1801700995719663926?ref_src=twsrc%5Etfw">June 14, 2024</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
<a href="https://live-sas-www-history.pantheon.sas.upenn.edu/node/13114" target="_blank" rel="noopener">Anne Berg</a>, the University of Pennsylvania history professor who appears in the docuseries as herself, holds a PhD from the University of Michigan and &#8220;studies the histories of waste and recycling, film and cities, racism and genocide.&#8221;

Eva Braun And Adolf Hitler

Netflix WWII Documentary Refers To Nazi Holiday Home As ‘Hitler’s Mar-a-Lago’

Netflix WWII Documentary Refers To Nazi Holiday Home As 'Hitler's Mar-a-Lago'

Adolf Hitler

Mar-a-Lago

Politics

World War II

If you spend any amount of time watching shows on streaming services like Netflix or Hulu, then you may have noticed that several big-name productions are now putting trigger warnings on the screen before some pivotal episodes. The show &#8220;Baby Reindeer,&#8221; for example, warns its viewers in advance of an upcoming scene depicting sexual violence. &#8220;Better Call Saul&#8221; alerts its audience about an upcoming suicide. Other popular shows, like &#8220;Severance,&#8221; &#8220;The Morning Show,&#8221; &#8220;Life &amp; Beth,&#8221; and several others also include similar messages before the show even begins. Even classics like &#8220;Goodfellas&#8221; and old <a href="https://x.com/CarmineSabia/status/1728958011392036870" target="_blank" rel="noopener">shows</a> like &#8220;All in the Family&#8221; now come with warnings about &#8220;ethnic prejudices.&#8221; 
Online, these trigger warnings have caused a lot of consternation because they often ruin the episode that people are about to watch. If you know a suicide is coming, for instance, it&#8217;s usually not too hard to guess which character might be involved. (Spoiler alert: It&#8217;s probably the character that&#8217;s been having serious mental problems all season). And even if you&#8217;re not sure what character might be involved, it still blunts the dramatic impact of the scene to be told, directly, that something shocking is about to happen. There&#8217;s a reason Shakespeare didn&#8217;t have some guy go on stage before the fifth act of &#8220;Romeo &amp; Juliet&#8221; to explain that poisoning and self-harm would occur. There was no stagehand to announce, &#8220;If you&#8217;re not ready to see two lovers take their own lives, then leave the amphitheater immediately.&#8221;
But we live in a much dumber time now, so trigger warnings like that are no longer unthinkable. In fact, if you go see a play like &#8220;Romeo &amp; Juliet,&#8221; there&#8217;s a very real chance you might run into one. For several years now, theaters all over the world have been incorporating these kinds of advisories. Watch:
<iframe loading="lazy" title="004 Trigger Warnings" width="500" height="281" src="https://www.youtube.com/embed/SKU2CRquz8g?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>
That report was from a few years ago, but the trend has only continued. The Sir Thomas Allen theater in Durham, UK, for instance, posted <a href="https://web.archive.org/web/20231202062825/https://www.theassemblyroomstheatre.org/whats-on/" target="_blank" rel="noopener">this notification</a> on its website just a few months ago, about the play &#8220;I, Joan,&#8221; which also premiered at Shakespeare&#8217;s Globe:
<blockquote>Content Warning: Loud music / Partial nudity / Period-accurate transphobia / Depictions of war.</blockquote>
So &#8220;Period-accurate transphobia&#8221; is now worthy of a trigger warning, which I guess means that every single play and work of literature that was written before 2015 needs a trigger warning. 
I could go on and on about how absurd these warnings are and how counterproductive they are. But there&#8217;s really no point. You&#8217;ve probably already heard about the research demonstrating that these trigger warnings are worse than useless. More than a dozen <a href="https://www.usnews.com/news/health-news/articles/2023-10-17/are-trigger-warnings-useless-new-study-says-yes" target="_blank" rel="noopener">studies</a> have shown that these kinds of notifications are either ineffective or actively distressing to people. 
This is becoming a mainstream position. Bill Maher did a whole monologue about it a year ago. Dr. Phil talked about it with Joe Rogan. And so on.
Instead of retreading that ground, I wanted to look more closely into why exactly these warnings came about in the first place. They seem like a symptom of a much larger problem that&#8217;s gone unnoticed, for the most part. I came to that realization after the outlet &#8220;Variety&#8221; ran a <a href="https://variety.com/2024/tv/news/trigger-warnings-spoil-tv-shows-1236025257/">piece</a> on this a few days ago on the problems that these trigger warnings can cause. Throughout their article, Variety kept using the term &#8220;trauma&#8221; again and again: &#8220;As content advisories become popular, Hollywood tries to find a balance between ruining plot twists and helping viewers avoid trauma.&#8221; That&#8217;s the headline. Then the article continues, &#8220;A growing number of programs have opted to inform viewers before showing potentially traumatizing content. &#8230; The goal is to help viewers enjoy TV without trauma.&#8221; They even speak to a medical expert about how trigger warnings relate to &#8220;trauma.&#8221;
This caught my attention because, up until relatively recently, when people heard the word &#8220;trauma,&#8221; they thought of serious, violent injuries — the kind people might suffer in car accidents or on the battlefield, for example. And that&#8217;s how the medical profession understood the word &#8220;trauma,&#8221; as well. But somewhere along the line, something obviously changed. &#8220;Trauma&#8221; became a daily occurrence rather than something suffered by people in the most extreme and harrowing circumstances. Everyday discomfort and mild inconvenience has been medicalized and overblown into &#8220;trauma.&#8221;
<h4><a href="https://www.dailywire.com/episode/ep-1386-member-exclusive" target="_blank" rel="noopener">WATCH: The Matt Walsh Show</a></h4>
We&#8217;ve seen this a lot in the past couple of years. You might remember the whole episode when the tennis player Naomi Osaka dropped out of a tournament and melted down at a press conference back in 2021. The idea was that talking to the press was traumatic for her, for some reason. PBS ran a <a href="https://www.pbs.org/newshour/health/naomi-osakas-withdrawal-from-the-french-open-highlights-how-mental-health-ranks-below-physical-health#:~:text=Pressing%20problems%20with%20stigma,depressed%E2%80%9D%20after%20losing%20a%20match." target="_blank" rel="noopener">sympathetic story</a> at the time that included this paragraph: 
<blockquote>Osaka, who is Black, Asian and female, may have contended with an even greater sense of vulnerability this past year, in light of the Black Lives Matter protests and the increased violence against Asian Americans. Studies have shown that individuals suffer from vicarious trauma when members of their group are targeted and discriminated against.</blockquote>
Yes, the tennis star was suffering from &#8220;vicarious trauma.&#8221; Those are two words we&#8217;re apparently meant to take seriously, along with other new terms like &#8220;intergenerational trauma&#8221; and so on. We&#8217;ve all seen dozens of stories like this. So when I saw the Variety piece, it occurred to me that the story here isn&#8217;t really about the rise of &#8220;trigger warnings,&#8221; per se. Instead, it&#8217;s about the fact that so many Americans now erroneously believe that they are suffering from trauma. And with that in mind, there&#8217;s an obvious question to ask, which is: When did that happen and why? 
The dramatic rise of post-traumatic stress disorder, or PTSD, might provide an important clue. In 2022, instances of alleged post-traumatic stress disorder in college students in America <a href="https://jamanetwork.com/journals/jamanetworkopen/fullarticle/2819206?guestAccessKey=bc2533bd-e1d2-4991-8500-1da1a731c2a3" target="_blank" rel="noopener">rose</a> by 7.5% — which is more than <a href="https://www.nytimes.com/2024/05/30/health/ptsd-diagnoses-rising-college-students.html?smid=tw-nytimes&amp;smtyp=cur" target="_blank" rel="noopener">double</a> the rate from just five years earlier. That suggests that something artificial might be going on here that&#8217;s making more college kids suffer from &#8220;trauma.&#8221;
At the same time, of course, 2022 was right in the middle of the COVID lockdowns, which obviously destroyed many lives. So maybe you&#8217;re thinking that&#8217;s related. But PTSD, as it&#8217;s generally understood, involves <a href="https://www.ptsd.va.gov/professional/treat/essentials/history_ptsd.asp#one" target="_blank" rel="noopener">witnessing</a> an extreme and catastrophic injury. That&#8217;s why the diagnosis became mainstream following the Vietnam War. And there were no wars directly involving American college students that occurred during the COVID lockdowns. Additionally, violent crime in many major cities was <a href="https://www.cam.ac.uk/stories/COVIDcrime" target="_blank" rel="noopener">down</a> by nearly a third during the early phase of the lockdowns. So how exactly would COVID have been responsible for more PTSD-related suffering?
Here&#8217;s one mental health expert at Indiana&#8217;s largest nonprofit healthcare provider to explain:
<iframe loading="lazy" title="005 PTSD" width="500" height="281" src="https://www.youtube.com/embed/jWvQ6TYr8cI?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>
So masks — which the medical establishment told us to wear at all times, even though they didn&#8217;t stop the transmission of COVID — were actually hell on earth for PTSD sufferers, apparently. This is the explanation they&#8217;ve come up with. If you&#8217;re keeping track, we&#8217;ve gone from &#8220;masks are bad&#8221;, to &#8220;masks are mandatory,&#8221; to &#8220;you should triple-mask,&#8221; back down to &#8220;if you wear a mask, you&#8217;re torturing PTSD sufferers who happen to look at you.&#8221;
This isn&#8217;t exactly a compelling argument. It seems pretty strained, actually. So maybe there&#8217;s another explanation for surging rates of PTSD and &#8220;trauma&#8221; in the general population. What might that reason be?
It turns out that, back in 2013, leading medical associations radically altered the meaning of trauma. As one Berkeley psychology professor <a href="https://www.nytimes.com/2024/05/30/health/ptsd-diagnoses-rising-college-students.html?smid=tw-nytimes&amp;smtyp=cur">recently told</a> The New York Times: &#8220;Some changes to the diagnostic manual [of psychological disorders] may have blurred the line between PTSD and disorders like depression or anxiety. .. In 2013, the committee overseeing revisions to the manual expanded the list of potential PTSD symptoms to include dysphoria, or a deep sense of unease, and a negative worldview, which could also be caused by depression.&#8221;
The Times report added: &#8220;PTSD was introduced as an official diagnosis in 1980, as it became clear that combat experiences had imprinted on many Vietnam veterans, making it difficult for them to work or participate in family life. Over the decades that followed, the definition was revised to encompass a larger range of injury, violence and abuse, as well as indirect exposure to traumatic events.&#8221;
In other words, with very little fanfare, the medical establishment completely redefined the meaning of PTSD, and the &#8220;trauma&#8221; necessary to qualify for a diagnosis. It&#8217;s no longer necessary to personally witness a violent death or injury to receive a diagnosis of post-traumatic stress disorder. It&#8217;s enough to &#8220;indirectly&#8221; experience such a violent death or injury. That&#8217;s trauma, under the new standard. This is what psychologists are telling their patients.
The only limitation, as far as I can tell from reading through the <a href="https://www.ptsd.va.gov/professional/treat/essentials/history_ptsd.asp#one">DSM-5</a>, is that this &#8220;indirect&#8221; exposure has to involve a loved one. But even then, it&#8217;s no longer necessary for your symptoms to involve vivid flashbacks and extreme social dysfunction or anything like that. Now a &#8220;deep sense of unease&#8221; and a &#8220;negative worldview&#8221; qualifies. That&#8217;s it. Never mind the fact that more than half the country now has a &#8220;deep sense of unease&#8221; and a &#8220;negative worldview.&#8221; That&#8217;s all it takes to suffer &#8220;trauma,&#8221; according to every major medical institution.
This is one way in which the concept of &#8220;trauma&#8221; has been expanded and over-diagnosed into oblivion. They just changed the meaning of the word back in 2013, probably to enable more doctors to diagnose more patients and prescribe them some more drugs. And then that lingo filters down to the media and everywhere else. If that sounds far-fetched or conspiratorial, consider the fact that another convenient rebranding took place that same year, in 2013. That was also the year that the American Medical Association (or AMA) abruptly decided to reclassify obesity as a &#8220;disease,&#8221; just like asthma or diabetes.
But the AMA privately <a href="https://www.dailywire.com/news/virtually-every-medical-expert-is-lying-to-you-about-obesity-heres-the-proof" target="_blank" rel="noopener">acknowledged</a> that obesity didn&#8217;t actually meet the criteria to be classified as a disease, because there are no unique symptoms that only obese people suffer from. It&#8217;s also the only disease in the world that can be cured, with a 100% success rate, by expending more calories than you&#8217;re consuming. Nevertheless, the AMA simply decided that reclassifying obesity as a disease would have a &#8220;positive impact&#8221; on society, so they did it. The Lancet documented all of this, as I <a href="https://www.dailywire.com/news/virtually-every-medical-expert-is-lying-to-you-about-obesity-heres-the-proof" target="_blank" rel="noopener">outlined</a> a few months ago. And now, just a few years later, Oprah is hosting an hour-long special in which she confidently suggests that Ozempic is the miracle drug that can cure this &#8220;disease.&#8221;
There&#8217;s reason to believe that the same approach has now been applied to &#8220;trauma.&#8221; Much like the idea of &#8220;land acknowledgements,&#8221; this massively expanded definition of trauma has quickly made its way from a handful of elite academics all the way to everyday life. So now we get trigger warnings on Netflix and Hulu and the theater and everywhere else. But much more importantly, now millions of Americans incorrectly believe they&#8217;ve suffered &#8220;trauma&#8221; when they haven&#8217;t. They&#8217;re under the impression that their problems are far more serious and uncontrollable than they really are. That&#8217;s good for the people prescribing the medications and doing the talk therapy. For everyone else, it&#8217;s yet another sign that we&#8217;re becoming a weaker and more broken society — one that, inevitably, will become even easier to control and manipulate.

TRAUMA / Blue board concept (Click for more)

How We Became A Society Full Of ‘Traumatized’ Weaklings

How We Became A Society Full Of 'Traumatized' Weaklings

Matt Walsh

Opinion

Psychology

PTSD

Theater

Remember Comedy Central?
The channel dedicated to 24/7 laughs gave us “South Park,” “Key &amp; Peele,” “Tosh.0,” “Chappelle’s Show,” and more.
Today, it’s a graveyard of reruns and “The Daily Propaganda” with Jon Stewart.
Comedy needs a helping hand in our woke world, and YouTube and TikTok can only do so much of the heavy lifting.
Enter Netflix.
The streaming giant has been delivering stand-up specials and original sitcoms for years. Nothing new there, at least on paper. Lately, however, Netflix brass have taken the task more seriously.
And it’s paying off, big time.
The streamer is home to comedy’s biggest stars (Sebastian Maniscalco), rising players (Nate Bargatze), and even woke wonders (Hannah Gadsby). Its “Netflix is a Joke” festival series, which just wrapped its second gala, is a who’s who of comedy giants. The event churns out even more original content aimed at our funny bones.
Netflix stand-up specials took on a special significance near the end of 2021. Dave Chappelle’s “The Closer” ignited a firestorm on the Left. Progressives raged against him mocking the trans community, ignoring how the Ohio native honored a deceased trans comic at the special’s end.
The streamer’s comedy bona fides hung in the balance. Would Team Netflix cave, cancel the special and cut ties with someone considered the best living stand-up?
Remember, this was during the post-George Floyd mania, a time when offensive sitcoms got memory holed and comedians feared the wrong joke could end their careers.
Netflix CEO Ted Sarandos initially stood by Chappelle. Then, he got on his Schwinn and furiously backpedaled <a href="https://www.nationalreview.com/2021/10/why-netflixs-apology-is-a-bad-idea/" target="_blank" rel="noopener">via The Wall Street Journal</a>. He said he “screwed up” in his initial response to the blowback, adding that people were hurt by jokes. 
“To be clear … storytelling has an impact in the real world . . . sometimes quite negative.”
Somehow, some way, Sarandos and co. stiffened their collective spines and rebuffed the Cancel Culture swarm. Netflix even extended its ties to Chappelle.
<div id="attachment_744085" style="width: 847px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-744085" class="size-large wp-image-744085" src="https://dw-wp-production.imgix.net/2024/05/GettyImages-1916600074-837x576.jpg" alt="BEVERLY HILLS, CALIFORNIA - JANUARY 07: (L-R) Charles Melton, Dave Chappelle, and Steven Yeun attend Netflix's 2024 Golden Globe After Party at Spago on January 07, 2024 in Beverly Hills, California. (Photo by Michael Kovac/Getty Images for Netflix)" width="837" height="576" srcset="https://dw-wp-production.imgix.net/2024/05/GettyImages-1916600074-837x576.jpg 837w, https://dw-wp-production.imgix.net/2024/05/GettyImages-1916600074-300x207.jpg 300w, https://dw-wp-production.imgix.net/2024/05/GettyImages-1916600074-768x529.jpg 768w, https://dw-wp-production.imgix.net/2024/05/GettyImages-1916600074.jpg 1024w" sizes="(max-width: 837px) 100vw, 837px" />Michael Kovac/Getty Images for Netflix</div>
We’re starting to know exactly why that happened.
A new Deadline.com report shows how challenging comedy is irresistible to Netflix subscribers. Turns out, aggressively unwoke comedians draw eyeballs on the platform. A lot of them.
Comedian Matt Rife isn’t as combustible as Chappelle, but he’ll veer into challenging topics when necessary. “Matt Rife: Natural Selection” delivered the biggest viewing numbers of 2023’s second half with <a href="https://deadline.com/2024/05/matt-rife-netflix-ratings-1235928998/" target="_blank" rel="noopener">13M hours viewed.</a>
That’s despite an alleged outcry over Rife’s domestic violence joke that hit social media shortly after its debut.
<div id="attachment_744083" style="width: 874px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-744083" class="size-large wp-image-744083" src="https://dw-wp-production.imgix.net/2024/05/GettyImages-1775224104-864x576.jpg" alt="THE KELLY CLARKSON SHOW -- Episode 7I026 -- Pictured: Matt Rife -- (Photo by: Weiss Eubanks/NBCUniversal via Getty Images)" width="864" height="576" srcset="https://dw-wp-production.imgix.net/2024/05/GettyImages-1775224104-864x576.jpg 864w, https://dw-wp-production.imgix.net/2024/05/GettyImages-1775224104-300x200.jpg 300w, https://dw-wp-production.imgix.net/2024/05/GettyImages-1775224104-768x512.jpg 768w, https://dw-wp-production.imgix.net/2024/05/GettyImages-1775224104.jpg 1024w" sizes="(max-width: 864px) 100vw, 864px" />Weiss Eubanks/NBCUniversal via Getty Images</div>
Other huge performers included Ricky Gervais’ “Armageddon,” which drew more than 8M hours between Christmas Day and December 31. Another mega hit? Chappelle’s “The Dreamer,” generating 2.1M hours in just one day.
<div id="attachment_744079" style="width: 421px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-744079" class="size-large wp-image-744079" src="https://dw-wp-production.imgix.net/2024/05/RG-Armageddon-411x576.jpg" alt="Ricky Gervais: Armageddon (2023). Neflix. IMDB." width="411" height="576" srcset="https://dw-wp-production.imgix.net/2024/05/RG-Armageddon-411x576.jpg 411w, https://dw-wp-production.imgix.net/2024/05/RG-Armageddon-214x300.jpg 214w, https://dw-wp-production.imgix.net/2024/05/RG-Armageddon.jpg 450w" sizes="(max-width: 411px) 100vw, 411px" />Ricky Gervais: Armageddon (2023). Neflix. IMDB.</div>
Shane Gillis, the comic canceled by “Saturday Night Live” for offensive jokes, joined the party. Twice. His “Beautiful Dogs” special scored with subscribers, and his just-released comedy series <a href="https://deadline.com/2024/05/shane-gillis-comedy-tires-viewership-netflix-premiere-1235942831/" target="_blank" rel="noopener">“Tires” opened strong</a>, standing tall against fan favorite “Bridgeton” with less media adulation.
Few performers capture the cultural tug of war between comedy and space spaces better than Gillis. Even “SNL” admitted the error of its ways and invited him to host the show earlier this year.
Netflix welcomed him with open arms. Funny is funny.
<div id="attachment_744097" style="width: 421px" class="wp-caption alignnone"><img loading="lazy" decoding="async" aria-describedby="caption-attachment-744097" class="size-large wp-image-744097" src="https://dw-wp-production.imgix.net/2024/05/Shane-Gillis-tires-411x576.jpg" alt="Kilah Fox, Chris O'Connor, Shane Gillis, and Steve Gerben in Tires (2024). Netflix. IMDB." width="411" height="576" srcset="https://dw-wp-production.imgix.net/2024/05/Shane-Gillis-tires-411x576.jpg 411w, https://dw-wp-production.imgix.net/2024/05/Shane-Gillis-tires-214x300.jpg 214w, https://dw-wp-production.imgix.net/2024/05/Shane-Gillis-tires.jpg 450w" sizes="(max-width: 411px) 100vw, 411px" />Tires (2024). Netflix. IMDB.</div>
And if Netflix needed more excuses to ditch the woke mob, Nikki Glaser gave it one. Her recent HBO special, “Someday You’ll Die,” <a href="https://deadline.com/2024/05/nikki-glaser-someday-youll-die-comedy-special-viewership-hbo-1235944537/" target="_blank" rel="noopener">smashed a streaming record</a> for the venerable platform. Glaser’s blistering set at the recent “Roast of Tom Brady” likely boosted those numbers.
She took zero prisoners with her bawdy gags. Neither did anyone else. Comedy Central used to be the home of rip-roaring roasts.
The Brady roast happened, where else, at Netflix.
Netflix’s comedy embrace makes perfect sense. We’re starved for unexpurgated humor, the kind you’ll never see on “Saturday Night Live” or “The Late Show.” It’s why podcaster Joe Rogan, a center-Left comic who loathes the “woke mind virus,” holds such sway over the culture. It explains how the digital space propels formerly unknown talents like Tim Dillon and Andrew Schulz into the top-tier of touring comics.
It also explains why Louis C.K., cast out of Hollywood for admitting to gross sexual acts in front of multiple women, can still sell out Madison Square Garden.
He doesn’t follow the rules, and he never has.
The streamer knows ignoring part of its potential audience is a terrible move in today’s challenging economic climate. Plus, Netflix no longer has the streaming space to itself like it did just a few short years ago. It’s fending off ferocious challenges from Peacock, Disney+, Max, and more. Those platforms aren’t as comfortable with “problematic’ storytelling and yuks. At least not yet. 
Netflix is. And it’s doing the best financially of them all.
Why? Capitalism. Give ‘em what they want.
The streamer still delivers woke content on demand. The channel featured a second Gadsby event, “Something Special,” last year. How it performed is anyone’s guess.
Its documentary lineup leans to the Left. You won’t see rebellious documentaries like Nick Searcy’s “The War on Truth,” “The Fall of Minneapolis,” or “Police State” on the platform. Maybe ever.
It still acknowledges half the country leans in the other direction. Even better? Many viewers on both sides of the ideological aisle are exhausted by the woke bylaws.
* * *
Christian Toto is an award-winning journalist, movie critic and editor of <a href="http://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://twitter.com/HollywoodInToto?lang=en" target="_blank" rel="noopener">@HollywoodInToto</a>.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.

Entertainment Industry Workers Vote To Strike, Threatening Hollywood Productions

Comedy And Capitalism: Netflix Goes All-In On Unwoke Comedy

Woke Culture

<a href="https://www.dailywire.com/topic/netflix">Netflix</a> CEO Ted Sarandos said he believes that last year’s mega summer blockbusters, “<a href="https://www.dailywire.com/topic/movies">Barbie</a>” and “Oppenheimer,” would have performed just as well if they had debuted on the streaming platform. 
“Barbie” pulled in $155 million during its first three days in <a href="https://www.dailywire.com/topic/entertainment">theaters</a>, making it the highest opening of 2023, and went on to make $1.44 billion worldwide. Meanwhile, the historical drama “Oppenheimer” earned $82.4 million during its <a href="https://www.cnbc.com/2023/07/23/barbie-and-oppenheimer-opening-weekend-box-office-results.html#:~:text=Entertainment-,'Barbenheimer'%20tops%20%24235%20million%20in%20domestic%20debut%2C%20eyes%20second,highest%20box%20office%20weekend%20ever&amp;text=Warner%20Bros.,%2482.4%20million%20during%20its%20debut.">debut</a> and $951 million overall.
Sarandos discussed his thoughts during a newly published <a href="https://www.nytimes.com/2024/05/25/magazine/ted-sarandos-netflix-interview.html">interview</a> with The New York Times. When the interviewer asked what type of content doesn’t fit at Netflix, the entertainment exec replied, “I don’t think that there’s a clear answer because the best version of something may work really well for Netflix but just hasn’t worked to date. There’s some obvious ones, like we don’t do breaking news and that kind of thing, because I think there’s a lot of other outlets for it. People aren’t looking to us for that.”
The NYT reporter mentioned the major theatrical releases of last summer. “Are there things that just don’t feel like they’re in your wheelhouse right now?” the interviewer asked.
“Both of those movies would be great for Netflix,” Sarandos replied about “Barbie” and “Oppenheimer.” 
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“They definitely would have enjoyed just as big an audience on Netflix,” he continued, “And so I don’t think there’s any reason to believe that certain kinds of movies do or don’t work. There’s no reason to believe that the movie itself is better in any size of screen for all people. My son’s an editor. He is 28 years old, and he watched ‘Lawrence of Arabia’ on his phone.”
Earlier this year, Sarandos said Netflix’s original movies “are attracting some of the biggest audiences in the world.”
He also mentioned that the streaming giant won’t be changing its approach.
“We do not plan to change our strategy or the mix [of licensed and original films]. It’s always going to be that kind of blend of, first window, second window and deep catalog. We think that formula works best to entertain the world,” he <a href="https://variety.com/2024/film/news/netflix-sarandos-film-strategy-scott-stuber-exit-1235884074/">said</a> in January.

Ted Sarandos

Netflix CEO Insists ‘Oppenheimer’ And ‘Barbie’ Would Have Had ‘Just As Big An Audience’ On Streaming

Netflix CEO Insists 'Oppenheimer' And 'Barbie' Would Have Had 'Just As Big An Audience' On Streaming

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