The past few months have not been good for left-wing entertainment, with self-inflicted injuries tearing down successful and prominent figures and shows in the public consciousness.
One such self-inflicted wound involved Amazon’s hit show The Boys, a cynical take on superheroes that quickly became one of the biggest shows in popular culture. Early on, the show satirized politics, corporations, celebrities, and, yes, social justice movements. It was clever, graphic, and undoubtedly a hit.
America added 172,000 jobs in May under President Trump. Meanwhile, in the Democrat-run, left-wing entertainment industry, thousands of jobs were lost.
The national job gains “were not felt across industries,” reports the far-left Deadline. “Jobs in movies and music fell by 2,700 to 328,000, and employment among broadcasting and content providers fell by 4,000 to 333,200. The figures come from the Bureau of Labor Statistics.”
Writing for Sight and Sound Magazine, Oscar-winning writer and director Quentin Tarantino correctly describes modern movies as “plain stupid shit.”
“I loved going to the movies. These days, however, the concept of what is a movie is more inclined to inspire contempt in me than generosity,” he writes. “Which is fair enough, because by comparison the movies of the last six years make the ‘80s seem like the ‘30s.”
Legendary film-maker Martin Scorsese has stepped into the fierce debate over the rise of artificial intelligence in Hollywood by endorsing an AI tool that he says has been “creatively freeing” in the pre-production process.
The Taxi Driver, Goodfellas and Wolf of Wall Street director has become an adviser to AI company Black Forest Labs, saying he wants to “push the bounds of creativity to create deeper and richer experiences for audiences”.
The company released a video of Scorsese using AI to instantly create images for storyboards, which show how key characters, locations and scenes should look.
AI is just a matter of time.
Zeitgeist is a fascinating subject for study, conducive to a number of questions. Here are three. At what point does the culture change? When does the change become undeniable? Does it come from the top down or the reverse?
For players in the entertainment business, these are not abstract questions but crucial monetary ones that will determine the success or failure of their product. They may ignore the warning signs to maintain ideological purity, but they can’t escape the consequences. Then, the ultimate question becomes how badly will they get hit? One answer — badly, but not badly enough to make them reverse course, until they’re thrown out.
Kenyan actress Lupita Nyong’o has admitted that before being cast as Helen of Troy in Christopher Nolan’s adaptation of the 2,800-year-old Greek classic The Odyssey, she had never even heard of the epic story, despite having graduated from Yale University.
I confess to never having heard of Lupita before this woke casting calamity.
The Disney Grooming Syndicate is angry over the FCC initiating an early license renewal for Disney-owned ABC.
“Disney-owned ABC formally asked the Federal Communications Commission [FCC] to renew licenses for its eight broadcast TV stations on Thursday, but not without chastising Chair Brendan Carr for infringing the Constitution,” reports the disgraced far-left Politico.
Currently, according to The Quorum, a company that tracks enthusiasm for upcoming movies, interest in Christopher Nolan’s The Odyssey is plummeting, and when I say plummeting, I mean that more people are excited about Scary Movie 6, the latest installment in a 26-year-old franchise.
That movie has bigger problems if the Achilles casting is true.
Supergirl: Woman of Tomorrow is looking at a $47 million to $65 million opening, which would be a disaster for a superhero tentpole that costs $175 million to produce and at least another $75 million to promote.
That puts break-even at right around $500 million global, and if you open to $65 million domestic, that ain’t happening.
The Disney Grooming Syndicate’s return to Star Wars feature films has resulted in the lowest opening ever for a Disney Star Wars movie. If you figure inflation in, it’s the lowest opening since 1999.
The Mandalorian and Grogu thudded over the Friday-Saturday-Sunday with just $81 million. With the extra day due to the four-day Memorial Day weekend, it is expected to bellyflop at right around $97 million.
Not a surprise given the flop stars the Male Rachel Zegler.
The long whimpering finish of The Late Show with Stephen Colbert last week confirmed a sad truth. Hollywood killed comedy. A century of laughter provoked by comic geniuses — Chaplin, Keaton, Laurel and Hardy, the Marx Brothers, Fields, Hope, Brooks, Martin, Carrey, and Saturday Night Live alumni (Belushi, Aykroyd, Murray, Murphy, Sandler, Ferrell, Myers, Stiller) ended in the first decade of this one. Mirth has either been missing from the screen since 2010 or reduced to conservative man-bashing, as on every late-night show. The latter is questionably rewarded by “clapter,” the former depends on mocking the now unmockable — to Hollywoke if not the audience.
Public relations genius and Supergirl star Milly Alcock has decided alienating, insulting, and antagonizing the mostly male superhero fanbase is the way to go.
Let’s call it Going the full-Rachel Zegler.
The long awaited sequel to Mel Gibson’s groundbreaking The Passion of the Christ became all the more real this week when he unveiled the first look for The Resurrection of the Christ.
“None of the above” trounced all other choices when a national poll asked U.S adult citizens to name “the best” late-night comedian on TV – yet another sign of viewers’ growing disdain for the hateful political commentary that has replaced entertainment.
In a national survey conducted May 15-18, 2026, The Economist/YouGov asked:
“Who do you think is the best late-night comedian on TV?”
The reason Stephen Colbert has never been funny is that he is incapable of making fun of himself. Even during his tenure on Comedy Central’s Colbert Report, he only mocked people on the right, specifically Fox News hosts.
Colbert not only lacks a true sense of humor, any hint of warmth, or the appeal of a guy you’d want to have a beer with (I’d have a beer with Jon Stewart), but also is void of anything approaching humility.
