Hollywood

Being the ruling class means a complete lack of self-awareness. That’s about the only way to explain this Deadline article.

While Hollywood and states gave a pass to Amazon swallowing up MGM, there have been howls of outrage over David Ellison’s takeover of Paramount, along with CBS, followed by more howls over a deal with WB. Why was the Amazon + MGM deal fine? Back then at least, Jeff Bezos was still being a good liberal, and even afterwards, he’s had limited involvement with Amazon and the behemoth destroying the American retail sector is safely pushing woke garbage with its Amazon Prime video content.

DC’s girlboss Supergirl movie has ended its theatrical run as a historic and epic failure.

After a six-week run, this stinker grossed a pathetic $72 million domestic and an even more pathetic $53.8 million overseas. That brings its global total to $126 million.

Supergirl is on track to become the biggest flop in the history of the DC Extended Universe (DCEU), a franchise that began in 2013 with Man of Steel.

Supergirl’s $71.6 million domestic gross and $53 million overseas tallies add up to a pathetic $124.6 million global.

Iwas at a loss on what to write about this week. The news has been in a state of stasis all summer with the same two headlines every day: the on again – off again war on Iran, and the communists taking over the Democratic Party. There is a new Prime Minister in the UK, but Andy Burnham is considered even more left-wing than the extreme Keir Starmer. That’s good news for my new political thriller novel, The Camelot Trail, involving a potential war between repressive Britain and pro-freedom America, but bad news for England and the world.

Alan Ritchson, the far-left Reacher star who used the promotion tour for Motor City to falsely accuse President Donald Trump of raping 13-year-olds, faced humiliating rejection over the weekend when his movie collapsed at the box office.

Although released in 1,600 theaters, Motor City grossed a pathetic $1.6 million in its debut. Its per-screen average was a laughable $1,015, placing it 18th in the per-screen-average derby.

The media continues to try and pump up Christopher Nolan’s The Odyssey, with Fortune magazine jumping into the game with the false claim that the movie has already earned back its estimated $250 million production budget.

Hailing Nolan for not needing AI or much by way of computer generated effects, Fortune published its July 21 article entitled, “He’s an analog man in a digital AI world’: Nolan’s ‘The Odyssey’ made back its $250M budget in 3 days without industrywide AI cost cutting.”

I haven’t seen Christopher Nolan’s The Odyssey, but I can accept that it’s a good movie. Critics I respect have praised the film, such as the brilliant classical scholar Spencer Klavan () in the Washington Post. What I can’t accept is Lupita Nyong’o as Helen of Troy. Not because Nolan swapped a black woman for a legendary white one — which is pathetic enough — but because he swapped an average looking one for the ultimate beauty. And the Left is less interested in elevating diversity than in diminishing beauty, and for the feminist Left, specifically female beauty.

Is it possible that the Republican war on so-called “diversity, equity, and inclusion” is having an effect on the movies? The Gay and Lesbian Alliance Against Defamation (GLAAD) is expressing alarm at the decline of LGBTQ characters at the movies – it’s at 20.4 percent of 2025 films in their latest tally, down from 28.5 percent in 2022.

Worse yet for the GLAAD squad, none of the 19 films in the animated/family film category had any of LGBTQ characters in it, which they find alarming. Last year, the ratio was two out of 26.

Big studios pour hundreds of millions into glossy productions that lecture audiences on politics rather than deliver gripping stories.

One fiercely independent thriller has cut through the noise and resonated with untold millions.

Citizen Vigilante, directed by Uwe Boll and starring Armie Hammer, refuses to sugarcoat the hard realities facing Western societies. It confronts head-on the chaos of third-world migrant crime, the failures of weak justice systems, and the nefarious officials who shield criminals.