If You Need Star Wars To Talk About Politics, You’re A Disney Adult
The adoption of 'Star Wars Day' by politicians signals that the pop cultural brain rot within our society has reached critical mass.The adoption of 'Star Wars Day' by politicians signals that the pop cultural brain rot within our society has reached critical mass.
California doles out over $100M in taxpayer money to massive film studios
The state of California is handing out boatloads of cash to some of the biggest money-making studios in the world.
The money comes from the California Film Commission, which, in addition to providing tax credits for studios that rake in revenue, has a robust incentive program for productions that push diversity, equity, and inclusion.
'The state also pushes productions to acquire suppliers based on their diversity.'
Dollars to doughnuts
As part of its $750 million annual industry push, the commission's funding is not limited to independent films or smaller studios, but tens of millions are actually allocated to big-budget studios that have a history of massive revenues.
Chiefly in this instance, Variety has reported that a sequel to "The Simpsons Movie," currently titled "The Simpsons Movie 2," will receive $21.9 million in state funding as California has expanded into supplementing animation production.
The 20th Century Studios production is set for a release 20 years after the original hit movie, which took in $183 million domestically and $536 million worldwide against a $75 million budget.
While TV revenues are tight-lipped, it's estimated that each episode generates between $3 and $5 million. It should go without saying that the longest-running American scripted primetime series is not hurting for cash.
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Alms for the A-list
Other major production houses getting a boost from the state include Netflix, which will get $10.9 million for a reboot of "13 Going on 30," while an untitled Disney live-action movie will get over $18 million.
DreamWorks, which reportedly took in over $900 million in 2024, will also get a credit of nearly $25 million from California.
At the same time, Paramount will get just under $26 million; they took in a reported $28.75 billion in 2025.
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DEI on the prize
The film commission also sports a complex DEI program that offers tax credits in exchange for pushing its ideology on the production staff of any given project.
The state provides a checklist for productions to ensure they know to perform inclusive hiring, equity education, and "industry capacity building" to "increase an inclusive and qualified workforce."
The state also pushes productions to acquire suppliers based on their diversity.
California's "success roadmap" also shows that productions must issue "mandatory DEIA orientation," with the added letter in the acronym for "accessibility."
For live-action films, this must be done before principal photography begins, while animation has to show its DEI work within 120 days of production.
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The 'Malcolm in the Middle' reboot is so woke even Hollywood hates it
Life is not only unfair in the new "Malcolm in the Middle," but it is also very oppressive.
The beloved 2000s series that went for seven seasons received a four-episode reboot on Disney+ recently, aptly titled "Malcolm in the Middle: Life's Still Unfair."
However, it was likely the viewer who felt most mistreated.
'I was like, 5, when I started feeling wrong.'
The series went live April 10 with all four episodes available simultaneously. It was the finale though that got the most traction, but for the wrong reasons.
'They' live
In this iteration of the show, Frankie Muniz — now a race car driver — returns as adult Malcolm and has since become a father to a teenage girl. Unfortunately, the mother abandoned her family just three days after the child's birth, according to the show's Wiki page. The mother's name is Dreamer.
Nonetheless, Malcolm has a new girlfriend, Tristan, who accompanies him through a reconciliation with his family and eventually to the 40th anniversary party of his parents, Hal and Lois. This is where the real woke magic happens.
The finale takes viewers on a whirlwind tour of progressive gender and sexuality obsessions. What garnered the most attention online was a speech by the family's sixth child (still in utero at the time the original series ended), Kelly, a new "nonbinary" character referred to as "they."
Ok, Boomer
Played by actress Vaughan Murrae — who purports to be nonbinary herself — Kelly is included in a video tribute to Hal where each sibling says what they love about their father. Kelly's portion instead explains her gender epiphany, saying, "I was like, 5, when I started feeling wrong. I thought I was great at hiding it, because you guys never said anything."
"I knew that he knew and had always known," she said about Hal, lovingly pointing out his acceptance.
Executive producer Tracy Katsky revealed in an interview with Deadline that the character was very much intentional in its messaging.
"It's a really important thing to us. Three out of four of our kids are queer," Katsky claimed. Her husband, Linwood Boomer, is the creator of the show. "Without making it a thing and without making an issue, I think it's really nice to have a character that, that's just a facet of their personality as opposed to the entire story. So we're really happy."
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- YouTube
Didn't ask, don't tell
Several other characters in the show are inexplicably gay as well. For example, Stevie, Malcolm's best friend with one lung, is now gay and has since adopted a baby with his husband, Glen.
Malcolm's trio of nerdy, male friends have a child together made possible by some sort of scientific experiment, but the show fails to provide specifics. When Malcolm asks if it happened through surrogacy, the men trail off. They do take a shot at the Department of Defense though, saying they got contracts before they graduated college and are doing a lot of "crazy s**t."
The child later makes an appearance as his three fathers are dancing (embarrassingly so), and one asks the boy to come dance with "dada, dada, and dada," referring to all three fathers.
To add in a creepiness factor, Malcolm's daughter, Leah, purported to be around 14 or 15 years old, sends a photo of herself from the event to her crush. She then gets a response that reads, "Show me your boobs."
The teen tells the camera, "What a creep! My first crush is a creep."
The attempted lesson at phone decorum still comes across as unnecessary, given that an adult wrote the scene.
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Reboot rebut
For good measure, the show also takes a gratuitous swipe at Christianity: Francis, the eldest brother, finds out during the anniversary party that his nitwit friends accidentally sawed off the head of a Jesus statue outside of a church. They are later arrested.
TV critic Christian Toto told Blaze News he felt "the reboot was either written several years ago or comes from a creative team eager to relive the woke era."
"Fans crave reboots for the nostalgia factor. The original show's edge came from its humor and singular take on family, not for any culture war broadsides," he continued.
The writer added, "The new 'changes' reflect a modern viewpoint that doesn't align with anything legitimately subversive or fresh. If anything, it's the most predictable way to take a reboot."
While some critics welcomed the reboot's manic energy, most noticed an emptiness beneath its progressive "updates" — even if they didn't name them as such.
Screenrant said the show "underwhelms by wasting too much time to fully bring the family back together."
The New York Times said the reboot "never has a chance to develop."
The Hollywood Reporter, Variety, and New York Magazine all scored the show a 4/10, while the Telegraph provided possibly the most simple yet accurate takeaway:
"It is, sadly, a disappointing reunion."
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Disney fans cheer as Mouse House reverses DEI-inspired theme park change
It’s been nearly five years since the Walt Disney Company leaned into the corporate vogue of diversity, equity, and inclusion across its theme parks.
Now, some parkgoers think they’re hearing something different — something familiar.
‘The sound of the trip starting for real.’
DEI dream
Back in 2021, Disney confirmed to Newsweek that it would phase out the classic greeting, “Ladies and gentlemen, boys and girls,” from announcements at Magic Kingdom. In its place came a more neutral line: “Good evening, dreamers of all ages,” part of a broader push to make park language more “inclusive.”
At the time, the change was treated as small but symbolic — another piece of Disney’s effort to align itself with the cultural priorities of the moment.
Now, a clip circulating on X suggests the company may be quietly loosening its grip on that approach. In the video, a monorail announcement clearly addresses riders as “ladies and gentlemen” while instructing them to hold the handrail — a phrase that, until recently, had been scrubbed from official park language.
Old times
No announcement has been made. No policy has been reversed, at least publicly.
But at a place like Disney, where every word is scripted and nothing is accidental, even a small change can signal something larger.
For longtime visitors, it’s not really about the phrasing itself. It’s about what it represents: a return to tradition — or at least a pause in the steady rewriting of it.
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No place for ‘ladies’
Various Disney-centric sites have stated that the removal of “ladies and gentleman” from park experiences was actually a bigger blow than it seemed. Inside the Magic called it the most recognized part of the vital experience that leads Disney fans into the theme park.
Disney Dining called the phrase “the sound of the trip starting for real,” noting its specific cadence made it memorable to park goers.
That Park Place reported that it took just a year for Disney to start treating gendered language like a bygone era, with progressive ideology becoming part of Disney’s internal training philosophy. The outlet cited diversity and inclusion manager Vivian Ware, who reportedly said cast members were being taught to avoid saying “ladies and gentlemen” and “boys and girls.”
Instead, the outlet stated, they were taught to say, “Hello, everyone,” or, “Hello, friends.”
The language shift wasn’t the only obvious change to standards at Disney, either.
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Mixed-up mouse
In 2023, Disney partnered with a man who claimed to be “gender fluid” in order to promote a Minnie Mouse-themed clothing set that included a red dress, yellow pumps, and red hair bow.
Earlier that year, an employee at Disneyland, who appeared to be a man in a dress, was seen greeting little girls at the salon and dress shop called the “Bibbidi Bobbidi Boutique.”
Align reached out to Disney Parks to ask when the gendered language was brought back into the attractions and the reasoning behind the policy change, but did not receive a reply.
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MIXED NUT: 'Snow White' star Rachel Zegler says she's too biracial for Hollywood execs
Actress Rachel Zegler says that her race is a consistent issue when being cast for major movie roles.
Whether it was Steven Spielberg's "West Side Story" or Disney's "Snow White," Zegler says she's received criticism for not being enough of either ethnicity of the roles she has played.
'When you're two things, you're simultaneously nothing.'
While many would argue that Zegler's constant criticisms of the traditional "Snow White" story — like calling Prince Charming a "stalker" — were the main drivers of the movie's failure, Zegler says it is her refusal to "assimilate" that causes viewers discomfort.
Skin deep
In an interview with Harper's Bazaar, she implied that she was told she was not white enough for "Snow White" and not Puerto Rican enough to play Maria in "West Side Story."
"I was told I wasn't enough of one thing for 'West Side Story' and too much of another for 'Snow White,'" she said.
Zegler called it a "confusing time" in her early twenties, despite being only 25 years old now, and played to her Colombian background; she was born in New Jersey, with Colombian and Polish parents.
"I grew up proud of being Colombian — eating the food, wearing the dresses, drinking the coffee, doing all the things that were so intrinsic to who I was as a kid and who I am as an adult," Zegler said.
However, the actress then claimed that being biracial is actually what gets her overlooked.
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Comfort zone
"I do think there's an argument to be made that, in the public eye at least, when you're two things, you're simultaneously nothing," she added. "But I refuse to assimilate for anybody else's comfort.”
While Zegler seemingly takes issue when it comes to audiences or studios noticing her ethnicity, she has certainly focused on her Colombian background a lot as a cause for celebration.
She told People in 2021 that she grew up in a "very Colombian American household" and loved being "surrounded by the biggest amount of Latinos I've ever been surrounded by" while filming "West Side Story."
At the same time, she claimed that studio executives "kept calling to ask if I was legit," in reference to being Colombian.
It was strange to have "a bunch of white executives have you prove your identity to them," she told the L.A. Times in 2025.
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Race rhapsody
In 2023, she joined forces with fellow Disney princess Halle Bailey to once again bask in the joy of being around certain races. She called it "beautiful" when Bailey remarked on working with an "all-black" cast, before calling her role as "Snow White" a "huge moment" for those who share her ethnicity.
Despite her recent interviewer purposely trying to pull her into a political debate, Zegler was described as not being willing to discuss politics but still acknowledged, according to the writer, that what's happening in the United States is "very difficult to witness in real time."
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Comic calls out Peter Dinklage: 'You were in the most offensive movie to little people ever made'
A stand-up comedian says fellow little person Peter Dinklage is guilty of hypocrisy for criticizing Disney over the use of dwarf actors in the "Snow White" remake.
The box office bomb garnered few moviegoers but plenty of meme mockery when it launched amid constant denigration by its own star, Rachel Zegler.
'It's not up to his cultural standards of what a dwarf should do.'
Zegler turned off audiences by consistently explaining that the movie avoided an out-of-date story concept while progressing to a world where Snow White doesn't need a man.
Heigh-ho, heave-ho
The movie's universally reviled CGI seven dwarfs certainly didn't help matters. Disney made the last-minute switch from live actors when "Game of Thrones" star Peter Dinklage lambasted the studio for daring to use actual dwarfs.
The backlash from dwarf entertainers was swift, expressing outrage that the uber-successful Dinklage essentially got at least seven actors fired.
Now stand-up comic and actor Brad Williams is calling out Dinklage for giving himself a pass when it comes to allegedly "offensive dwarf roles."
Speaking with podcaster Chris Van Vliet, Williams said that while he was jealous of Dinklage's talent, his disdain for the actor comes from his obvious hypocrisy that no one is speaking about.
"[Dinklage] came out and was really angry that the live-action 'Snow White' movie was going to use real dwarf actors, and he thought that was offensive. If someone else gets work, that's really offensive to him," Williams began. "It's not up to his cultural standards of what a dwarf should do to be a respected member of this business."
'Toes' before bros?
Meanwhile, said Williams, Dinklage's own resume includes "the most offensive movie to little people ever made": the abysmal 2002 film "Tiptoes."
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The film stars Gary Oldman as a dwarf, an effect achieved by the actor playing "on his knees" with his arms tied back.
"[He] doesn't look like a little person at all," Williams explained.
"You can't be in 'Tiptoes' .... and then come out and try to take work from dwarf actors and say, 'You can't play the role of a dwarf because it's considered offensive.' To whom? To you?"
While joking that Hollywood is "not writing" many roles for little people, the comedian screamed that he would have loved to be in the movie.
"Yes! Literally the role I was born to play, genetically," he laughed.
Shortchanged
Dinklage's influence over the film did not please fellow dwarf actor Dylan Postl either, who said last year that Dinklage was putting at least a dozen little people out of work in what would have been the role of a lifetime.
"What gave him the voice for all of our community?" Postl asked.
Stuntmen and stand-ins could have been employed for the dwarf roles as well, Postl and Williams agreed.
Williams' notion that "Tiptoe" "looks like a 'Saturday Night Live' sketch" was the exact sentiment shared by comedians Bert Kreischer and Tom Segura when they brought up the film to one of its stars, Matthew McConaughey.
Watching the movie trailer for the first time more than 20 years later, McConaughey called it a "wild concept" that drew a lot of talent.
"We knew it was a soap opera," he remembered, saying the cast was thinking, "If we straight-face this, it can be really funny and also might actually make you drop a tear."
McConaughey and the comedians joked at the swing-and-miss nature of the trailer, agreeing that it "doesn't look real."
McConaughey assured the duo, however, that it was indeed a "real production" and he actually "showed up to work" to film that movie.
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The REAL reason Disney Gay Days are fizzling out (it’s not the boycotts everyone thinks)
After 35 years, it appears that Disney Gay Days — the annual LGBTQ+ event where participants, their families, friends, and allies visit the Walt Disney World parks and wear red shirts for visibility — are on their last legs.
The group that organizes the event recently announced that shifting hotel agreements and the loss of key sponsors forced it to cancel the 2026 celebration. Although organizers are encouraging gay fans to visit the parks on the usual dates and wear themed attire, the coordinated celebration appears to be on its way to history’s ash heap.
Some people, particularly in Christian outlets, are claiming that boycotts are behind the sponsorship losses that led to the 2026 pause of the organized Gay Days events at Disney, but BlazeTV Auron MacIntyre disagrees.
“Evangelical Christians tried to cancel Gay Days with an on-again-off-again boycott for decades. What finally wounded the LGBTQ leviathan wasn't conservative activism. It was cultural apathy,” he says.
“I remember the first wave of evangelical pushback as Disney began signaling support for homosexual lifestyles in the 1990s,” says Auron.
But it was a “strangely inconsistent boycott,” he says.
“One year, the Southern Baptist Convention urged members to avoid Disney. The next year, churches were showing up to the Night of Joy, Disney's Christian music festival.”
As a result of this “sloppy, intermittent resistance,” Disney "leaned in harder” to its pro-homosexuality agenda, moving "from park celebrations and employee benefits” to “progressive messaging” in its cinematography.
“'The Little Mermaid' became black, gay couples were kissing in 'Star Wars,' and diverse girlbosses dominated Marvel. As acceptance of gay marriage shifted from taboo to required corporate orthodoxy, Disney replaced entertainment with propaganda,” says Auron.
Thus the fading of Gay Days had nothing to do with either Christian resistance or a rolling back of support from Disney.
Auron says that "apathy" is why Gay Days “suddenly [fell] apart.”
“Apathy doesn't mean that Americans suddenly disapproved of Disney's agenda sadly. It just means that normal people stopped granting it the honor of a fight,” he explains.
“Many families quit watching new releases, not as part of a coordinated boycott, but because the product became preachy, weird, and dull. Others kept their subscriptions but tuned out of the messaging and rolled their eyes. Either way, the ritualized drama lost its electricity.”
“Corporate sponsors,” says Auron, “follow attention, and attention follows the next outrage.”
“A movement built on being shocking can't survive once it becomes background noise.”
So what’s the lesson here?
Citing Machiavelli’s “The Prince,” Auron says, rulers must “leave opponents alone or crush them entirely. A complacent enemy might grumble, but they avoid taking risks; a crushed enemy can't retaliate. The most dangerous enemy is one that has suffered a minor bloodying. He gains the motivation to fight and keeps the means to harm.”
“Conservatives gave the LGBTQ movement exactly that minor bloodying — outrage finger-wagging, but never any real consequences,” he explains.
The “LGBTQ leviathan” responsible for Disney Gay Days, he argues, “didn't lose because the right defeated it; it lost because it exhausted its own cultural energy.”
“The lesson here is pretty simple,” says Auron. “If the right fights, it must pick battles carefully and commit fully to winning them. ... If you fight, you must crush the enemy's capacity to operate; otherwise, you invigorate his cause while draining your own. Clumsy half measures feed your foe, and you end up hoping he defeats himself.”
To hear more, watch the video above.
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