STILL THE KING: Squeaky-clean Michael Jackson biopic moonwalks all over competition



You come at the King of Pop, you best not miss.

When critics condemned the new Michael Jackson biopic for ignoring the sexual abuse allegations that haunted the late pop star, audiences had a simple retort: Beat it.

The upstart politician uncorked a banger ad campaign that shredded current California leaders for crushing the City of Angels.

Last weekend, they packed in theaters to give “Michael" a monstrous $97 million stateside haul.

The chasm between critic and general audience has never been bigger.

Now, with those gaudy numbers in hand, Lionsgate is teasing a sequel. And yes, there’s so much left to share about Jackson’s life. That “marriage” to Lisa Marie Presley. The plastic surgery mania that left the singer looking radically different and shockingly frail.

The reliance on surgical anesthetic as a sleep aid, a habit that eventually killed him. Oh, and the numerous court cases and allegations saying he preyed on children.

That’s enough for a whole franchise, but given the Jackson family is still holding the keys to the saga, we’ll have to wait and see if any or all of the above finally gets a close-up ...

'Witch' watch

Imagining. Reimagining. Rebooting.

Heck, just call it what it is. A desperate attempt to squeeze every ounce out of a horror franchise. We recently learned a “new” “Texas Chainsaw Massacre” film is in the works, with the director promising a fresh take on the property.

Let me guess ... this time around the human pruning will be emissions-free.

Now, a movie that defined “lightning in a bottle” is coming back. The 1999 found-footage shocker “The Blair Witch Project” caught everyone off guard. The film’s sneaky marketing even tricked some viewers into believing it was a documentary.

The $60,000 flick ultimately became one of the most profitable films of all time — followed by two of the most underwhelming sequels of all time.

Despite this track record, the pitch for another “imagining” of the film (Lionsgate's word, not ours) is heading to the Cannes Film Festival.

Let’s hope the project’s $10 million budget allows for someone to hold the camera steady ...

Ding-a-ling

We thought “Jeopardy” champions were supposed to be smart.

Recent winner Jamie Ding wrapped an epic run on the venerable game show, and he used his 15 minutes of fame to bash ... Immigration and Customs Enforcement.

First, he played the "as an immigrant and person of color" card. Wow, we’ve never seen that on our TV screens before. Stop the presses!

But even after 31 consecutive wins, Ding apparently can’t tell the difference between himself and the average undocumented Tren de Aragua member.

Maybe we can help: "What is illegal immigration?"

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NurPhoto/CBS Photo Archive/Kevin Winter/NBC/Getty Images

Jihad to be there

“The Daily Show” isn’t the dumbest program on TV. That dishonor goes to “The View.” But this week, Comedy Central's creaky fake news flagship threatened to steal the dunce cap from Whoopi and crew with a segment featuring Muslim comedian Mo Amer.

Amer whitewashed reality to both talk up Muslim achievement (fine, good!) and distract from the unrelenting headlines about radical Islamists (bad!). And of course, he wrapped by calling Americans racist for noticing the latter. Naturally.

“So stop using lazy tropes to divide people so you can bomb other countries, creating even more refugees, making you more upset at Muslims in America being doctors or engineers, lawyers, or selling you street meat out of delicious halal carts!”

Memo to Amer: It's not so much the Muslim doctors who get under Americans' skin — it's the Jew-hating, terrorist ones. Although to be fair, some enterprising immigrants manage to pull off both careers.

And by the way, if you’re going to appear on “The Daily Show,” you might want to tell an actual joke or two. You never go the full Kimmel ...

As seen on TV

Why does it take reality-show stars to fix our problems? The country elected Donald Trump twice to address the issues ignored by too many politicians, like our porous southern border. Now, “The Hills” alum Spencer Pratt is trying to do the same for Los Angeles.

The upstart politician uncorked a banger ad campaign that shredded current California leaders for crushing the City of Angels.

This is one sequel Hollywood desperately needs — “The Reality-Show Star Strikes Back.” Given the Golden State’s recent history, though, it might never get greenlit.

CHUBBY CHECKER: How Anne Hathaway made sure new 'Prada' sequel included models of 'all different shapes'



A movie about fashion models that joked about not eating to stay thin has completely reversed course for its sequel.

"The Devil Wears Prada 2" is the follow-up to the fangirl favorite from 2006, starring Meryl Streep and Anne Hathaway. This time around, however, Hathaway did not want the reality of the fashion industry to deter anyone from seeing her film.

'I just know that this movie is for everyone.'

Skeleton crew

The controversy started when Streep told fashion rag Harper's Bazaar that the models she saw in Milan during production were not only "beautiful and young," but also "alarmingly thin."

"I thought that all had been addressed years ago," Streep told the outlet. She added that Hathaway made the producers promise then and there that the models in the new movie would not be so thin.

"She made a beeline to the producers about it, securing promises that the models in the show that we were putting together for our film would not be so skeletal!"

"She's a stand-up girl," Streep stated.

Body doubled

This put the onus on Hathaway to explain herself to fawning activists during subsequent interviews. At the premiere in New York City, Hathaway told Variety that she had noticed "beautiful models on set," but "a lot of them were more traditionally model-sized."

"I thought the scene would be so much more enjoyable for the audience if we had just a wider range of bodies on display, because all different shapes are beautiful," Hathaway claimed.

The 43-year-old explained that she asked her producers if they thought the scene would be "stronger" if it had "a more inclusive approach to sizing."

At her behest, the producers allegedly made the changes within an hour.

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Diet rights

In an interview with "Good Morning America" on Monday, Hathaway continued her campaign by saying she wanted to correct any "misinformation" about getting thin models fired "because of the size inclusivity."

"That just didn't happen. Nobody lost their jobs. In fact, it created more jobs," she claimed. "It was just about making sure that so many different body types saw themselves in a moment in the script."

Amid the hosts' gushing over her progressivism, Hathaway asked, "Isn't it better when you see so many different types of bodies up there with that?"

Original thin

"The Devil Wears Prada" had a $27.5 million opening in June 2006, eventually totaling over $326 million against a $35 million budget. The sequel seems football fields away from its original tone, however, which poked fun at the absurdity of models starving themselves.

One memorable scene included Emily Blunt's character telling Hathaway's about her lack of eating in order to stay thin.

"You look so thin," Hathaway's character says at an event.

"It's for Paris. I'm on this new diet," Blunt replies. "It's very effective. Well, I don't eat anything, and when I feel like I'm about to faint, I eat a cube of cheese. ... I'm just one stomach flu away from my goal weight."

RELATED: California doles out over $100M in taxpayer money to massive film studios

Size queens

In another red-carpet interview with Etalk, Hathaway again remarked that she relished the ability to utilize "a more inclusive approach to beauty standards" in the new film, repeating the term "traditionally sized."

The actress was met by yet another journalist eager to speak about the issue, revealing that she has been a "size inclusivity advocate for 15 years."

Hathaway boasted to the reporter that she "had seen that there were a lot of traditionally sized models in our movie, and I just know that this movie is for everyone."

Hathaway even spoke on behalf of her producers, saying they were "so embarrassed" when they realized there was a serious lack of body diversity on the movie set. Now moving the timeline to two hours, she said the producers quickly brought in more girls for the scene.

In what seemed like a borderline-forced happy-go-lucky attitude, the actress concluded that everyone feels "happier" when everybody feels "included."

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'Friends' star calls out beloved sitcom's leering, verbally abusive writers: 'Can't the b***h read?'



Beloved '90s comedy "Friends" may have been one big lovefest on screen — but behind the scenes, it was a toxic stew of verbal abuse and sexual harassment.

At least, this is according to one of the stars of the blockbuster ensemble sitcom, which ran on NBC from 1994 to 2004.

'We know that back in the room the guys would be up late discussing their sexual fantasies.'

Gag orders

Apparently, the same writers who came up with now-iconic lines like, "We were on a break" and "How you doin'?" had brutally high standards for how their work was performed — and weren't afraid to say so in profanity-laden tirades.

"Don't forget we were recording in front of a live audience of 400, and if you messed up one of these writers' lines or it didn't get the perfect response, they could be like, 'Can't the b***h f**king read? She's not even trying. She f**ked up my line,'" actress Lisa Kudrow told the Times.

Kudrow also claimed that the male writers openly leered over her comely co-stars.

Central perks

"We know that back in the room the guys would be up late discussing their sexual fantasies about Jennifer [Aniston] and Courteney [Cox]. It was intense," she stated.

Kudrow added that the dozen or so writers making up the staff were "mostly men."

"Oh, it could be brutal, but these guys — and it was mostly men in there — were sitting up until 3 a.m. trying to write the show, so my attitude was, 'Say what you like about me behind my back because then it doesn't matter.'"

RELATED: California doles out over $100M in taxpayer money to massive film studios

Jim Smeal/Ron Galella Collection/Getty Images

Don't call it a 'Comeback'

Kudrow made the comments while promoting the third season of her HBO series "The Comeback," which depicts the humiliating misadventures of a washed-up sitcom actress trying to reignite her career.

Kudrow said that when it debuted in 2005, HBO worried that viewers would reject its unsparing depiction of its desperate protagonist — and the pathetic lengths to which she'd go for a shot at success.

"That was news to me, because I thought women could be just as ambitious as men. But a producer on another show said it's like making jokes about disabled people. Obviously you don't do it, and at that time, women were seen as victims."

"The Comeback" was canceled after one season but returned for another in 2014.

MeToo soon?

The current season may surprise viewers with scenes mocking "gender-inclusive" language and a reference to making "illegal" jokes, but Kudrow explicitly denied that the show was hitting back at "woke" comedy or the MeToo movement.

RELATED: 'Against the Machine' offers playbook for battling leftist lies

Gary Null/NBCU Photo Bank/NBCUniversal/Getty Images

"No, because the MeToo movement was great," she said, although she did allow that "there came a point where you couldn't joke about anything. It felt like comedy was dying."

Kudrow may not always have enjoyed making "Friends," but the massive residuals she earns would put a smile on anyone's face.

The Times reported Kudrow and her castmates each still earn approximately $20 million per year.

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Picking Voice Actors By Race Is Killing The Beloved Avatar Series

No one wants to watch their favorite characters given worse performances by unseen voice actors who may better physically resemble them.

'Call Sign Courage': One soldier's fight against creeping Marxism in the military



Filmmaker R.J. Moeller has a keen sense about people and pairings.

He recalls helping to connect Dennis Prager and comic Adam Carolla, two media personalities with wildly different skill sets and backgrounds. Yet Prager and Carolla clicked, and they toured the country as a very odd but endearing couple. They later co-starred in the 2019 documentary “No Safe Spaces,” which Moeller produced.

Most documentaries don’t move the cultural needle, but 'Call Sign Courage' gave its star a real-life happy ending.

Moeller also sensed something special about Lt. Col. Matt Lohmeier, a former Air Force pilot fired by the Biden administration in 2021 for slamming the military’s DEI culture on “The Steve Gruber Show.”

Lohmeier decried the military’s diversity initiatives, citing their ties to critical race theory.

That led Moeller to produce “Call Sign Courage: The Matt Lohmeier Story.” The documentary, recently promoted by X’s own Elon Musk on the social media platform, recalls Lohmeier’s battle against a formidable system.

He lost his job at Space Force and his pension, but the military veteran wouldn’t give up. His battle is the heart of “Call Sign Courage." That story felt like a natural for the right documentary filmmaker, Moeller recalls, including Lohmeier’s faith and family connections.

'Jon Hamm meets John Wayne'

“I thought, ‘This dude is special.’ The character, the depth, what he did when no one else wasn’t looking,” Moeller says. It didn’t hurt that his subject “looked like Jon Hamm meets John Wayne.”

Except Lohmeier wasn’t eager for his close-up.

“These news cycles move fast. He was happy to be forgotten about ... he was exploring taking a high school teaching position,” Moeller says.

A mutual friend connected them all the same, and the filmmaker convinced Lohmeier to share his story with the world via film.

“If you give me 12 months ... we’re going to make you a film,” the producer told him, sealing the deal.

Crucial allies

Funding is always tight for documentary filmmakers, but Lohmeier’s story attracted the Heritage Foundation’s attention, which helped pick up some critical fees. The nonprofit helped release the film free on X for a limited time last week. Now, the film — directed by Marshall Lee, who cut his teeth editing movies like "What Is a Woman?" and "Am I Racist?" — is available on Apple TV, Prime Video, and other VOD platforms.

Musk screened the film and helped arrange for the free X window. The result? Moeller says roughly five million people watched some or all of it over the weekend.

Moeller, who also produced “Live Not By Lies” for Angel Studios, understood how his subject matter’s fight to call out the military’s Marxist turn mattered to the film. Not everyone was happy to see that element included in the documentary.

“I cannot tell you how many conservative people in D.C., when they heard about this film or saw cuts of it, said, ‘Eh, don’t talk about Marxism so much.’”

“I’m leaving it in the film ... it’s the most powerful stuff,” he says. “The more they tell us to not talk about Marxism, the more we’re going to do it.”

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IFC Midnight

10,000 hours

Moeller is part of an emerging right-leaning brand of storytellers, the kind who once had little access to the public. Now, with X, YouTube, and other social media platforms, he’s able to share his skills with the public.

It all started for him in the existing movie ecosystem.

“I’m proud of the 10,000 hours I put into traditional Hollywood ... you need to cut your teeth out there,” he says. Now, he’s eager to leverage what he calls the “wild, wild west” of storytelling outside the industry’s glittery walls.

“Hollywood failed by overspending and making stuff people didn’t want. Don’t make the same mistakes in the conservative film world,” he says.

The existing film industry “has things to teach us, like professionalism,” he says. “We need to bring in our values, our own money, and our audiences ... we need to be really good stewards of that, to under-promise and over-deliver in this space.”

Making inroads

He remains hopeful that David can, if not slay Goliath, make inroads in the pop culture landscape.

“The center-right entertainment ecosystem is doing its best, and platforms like Angel Studios are taking big swings, but how to find and monetize an audience remains the biggest struggle for independent filmmakers,” he says. “We know the audience is there, but lining up quality work with proper distribution, especially marketing, so that everyone can turn a profit and rinse-and-repeat that 1,000 times is easier said than done.”

Moeller is hard at work on a new project, a pilot for a dramedy called “Are We There Yet?” with comedian Jeff Dye. The show, following a stand-up comedian “struggling with his faith, marriage, career, and sobriety,” will be shopped to streamers and potential buyers this summer, he says.

Most documentaries don’t move the cultural needle, but “Call Sign Courage” gave its star a real-life happy ending.

“The Trump campaign found out about the fact that we were telling Matt Lohmeier's story, and they invited him to a campaign rally in North Carolina right before the 2024 election,” he says. “At that event, Trump offered Matt a position in his administration.”

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.

RELATED: Disney down on DEI, says ex-staffer: 'The vibe shift is real'

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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Chris Polk/FilmMagic/Getty Images

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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