Amazon Prime’s most successful show has always been woke, but now, it’s insufferably woke

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If you’ve ever watched “The Boys” on Amazon Prime, then you know the superheroes who make up the main cast are more like super-zeroes. They’re exceedingly violent, greedy, and power-hungry, which of course is the point, as the series is designed to satirically flip the superhero archetype on its head.

Such a unique concept has resulted in the development of quite a significant fan base.

“Since its debut, [‘The Boys’ has] consistently been one of the streaming platform's highest rated and best-performing shows,” says Lauren Chen, BlazeTV's resident film critic.

However, now that the fourth season has dropped, the show’s popularity is waning dramatically.

Could it be because the series is drowning in wokeness?

“I have been 100% aware from the get-go that obviously the people behind ‘The Boys’ are leftists,” but it was “still worth watching,” says Lauren. “Until now, that is.”

'The Boys' is INSUFFERABLY WOKE Now!|***SHOW REVIEW***youtu.be

“It’s always been woke, but in my opinion, previously, the wokeness was at least tolerable,” she says, adding that the complexity of the characters, the acting, and the strong dialogue made the show worth watching.

Further, “what made the show watchable, despite its wokeness, was that in previous seasons, the writers clearly weren't afraid of taking shots at their own side,” Lauren explains.

However, that all ended with the debut of season 4, which hasn’t even dropped all its episodes yet.

Take a look at the face of the series — Homelander, played by Anthony Starr. Once a complex character who was power-hungry and corrupt yet insecure and traumatized has been simplified in the fourth season into nothing more than “a parody of superhero, fascist Donald Trump.”

Additionally, “[Homelander’s] followers, his supporters or ‘home teamers’” (perhaps a play on Trumpers?) “are also just evil, racist, fascist, sexist, conspiracy theorists.”

“Seriously, the first three episodes of season 4 … [paint] Homelander’s supporters — these ‘home teamers’ — as these Alex Jones-watching, Jew-hating, literal loser conspiracy theorists who are just waiting for any reason to attack or get violent with their fellow Americans,” sighs Lauren.

Then “Starlight, who used to be an actual character with personality, has now just become a stand-in puppet for, I guess, the Democrats or feminists, who is just like, ‘I'm pro-good things; I hate the bad guy,’” she mocks.

Similarly, her followers — “starlighters” — represent “the good guys” because they’re anti-racism and anti-corporate corruption, but pro-feminism.

In scenes when the home teamers are pitted against the starlighters, the starlighters are painted as non-violent “angels,” whereas Homelander’s supporters are portrayed as “violent” and “evil.”

The message is crystal clear. Red=bad, blue=good.

If you don’t believe Lauren, then just look at the IMDB audience scores.

In season one, the audience gave the show a score of 90%, season two scored 83%, season three fell to 75%, and now season four is sitting at an abysmal 52%.

Perhaps people are getting sick of progressive agendas being shoved down their throats when all they want is just some good, old-fashioned entertainment.

To hear more of Lauren’s analysis, watch the clip above.

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ANOTHER Disney fail: ‘The Acolyte’ 'Star Wars' series fails miserably after only two episodes

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Just a few days ago, “The Acolyte” — a television series that merges the "Star Wars" franchise with murder mystery — dropped on Disney+.

When the series was first announced, Lauren Chen, BlazeTV’s cinema pundit, was stoked.

“How sick would it be to have an actual 'Star Wars' series that was simultaneously a dark thriller murder mystery?” she asks. “I think that could have been amazing.”

But her excitement quickly deflated once she started actually watching the series.

“Now that I've actually seen the first two episodes, though, I am quite sure that the people behind the show — Leslye Headland, specifically — doesn't know what a murder mystery is because if she did, I feel like she would never describe this show in such a way,” says Lauren.

“As someone who does like murder mysteries, I want darkness, I want intrigue, I want mystery. What I got with ‘The Acolyte’ was not that.”

For starters, the murderer isn’t a secret. In fact, the filmmakers reveal this information almost immediately.

“If in the opening scene we see exactly who did the killing and how they did it. It's not a murder mystery,” scoffs Lauren.

But that’s not the only way “The Acolyte” breaks the murder mystery genre code.

“The [plot] twist was revealed like 20 minutes into the first episode,” sighs Lauren, adding that “any intrigue, any tension, or mystery that the show ever manages to build up, it dashes almost immediately.”

For example, one of the major conflicts “is solved almost immediately,” leaving audience members yawning.

“This is just not how murder mysteries work,” critiques Lauren.

To hear the remainder of her analysis (including spoilers!), watch the review below.


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Five reasons ‘Furiosa: A Mad Max Saga’ is the girlboss movie we actually DO need

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Nearly ten years ago, "Mad Max: Fury Road," featuring Charlize Theron and Tom Hardy, dazzled audiences across the globe with its post-apocalyptic, dystopian narrative. The film was a success, scoring 97% on Rotten Tomatoes and winning six Oscars.

Now the franchise is back with a new film, starring Anya Taylor-Joy and Chris Hemsworth, but does the movie live up to its predecessor?

Many have been skeptical of “Furiosa: A Mad Max Saga,” given that most modern female-centric films tend to come with a progressive agenda.

“Leading up to its release, a lot of people were rolling their eyes thinking that this is going to be just another tale of a woke feminist girlboss,” says Lauren Chen, who's BlazeTV's guru when it comes to exposing woke cinema.

Surprisingly, however, “almost nobody – especially those who've actually seen the movie – are calling it woke, feminist, or implying that Furiosa is a girlboss in any type of way.”

“Even though Furiosa is a woman and she is strong and a main character, she is far, far from the Mary Sue likes of Rey or Captain Marvel that people are so keen to hate on,” Lauren explains, adding that “Furiosa is a good case study of how a character can be strong and a woman and competent but also not be a feminist Mary Sue wet dream.”

What makes Furiosa a real girlboss?

For starters, “she actually makes mistakes,” unlike the Mary Sue archetype, who is practically perfect in every way.

Further, “she actually has to learn, grow, and rise through the ranks in order to be successful,” says Lauren, who condemns Rey and Captain Marvel as examples of modern-day Mary Sues who’ve “gotten everything that they want right away without ever having to work.”

“[Furiosa] really starts from nothing – a little girl with no skills … and it's only after years and years and years that she eventually gains not only a title that is worthy of respect but also skills to go along with that.”

“Reason number three why Furiosa is not a Mary Sue,” according to Lauren, “is that she does not have magical superpowers that make her better and stronger than everybody.”

In fact, “she gets her own a** handed to her many, many times throughout the film. She even loses an arm because she gets outsmarted,” Lauren explains. “She’s a character who goes through hell, which makes her interesting.”

Additionally, Furiosa’s character diverges from the typical female lead role in that she actually “depends on other people” – unlike the trendy goddess archetype whose strength and independence transcend any need for support or community.

“Furiosa herself is not perfect, and that actually allows for other characters to, you know, do things in the movie that are meaningful,” says Lauren.

The last reason for why "Furiosa" is not a Mary Sue film has to do with the male characters in the movie. To hear the final point, watch the clip below.


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Immigration traditionally ‘a weapon’ used to change demographics; Ireland overwhelmed

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The United States isn’t the only country overwhelmed by an influx of illegal immigrants, as Ireland is suffering a similar fate.

“God be with the days when it was just Polish immigrants,” YouTuber Keith Woods tells Lauren Chen. “People will be nostalgic for that soon.”

“It’s happening in all the anglosphere countries, but like Canada, the U.S., Ireland — they all increased their population by about 3% in just the year after COVID purely through immigration,” Woods continues. “Ireland had a 3.5% increase in a single year in 2023, which is one of the biggest population increases ever in any country for any reason.”

According to Woods, illegal immigration has exploded in Ireland “because the government has essentially advertised the services that are on offer here for asylum-seekers.”

Woods also warns that Ireland has welcomed 10 times the EU average of Ukrainian refugees.

“So within the last three, four years, there has been this kind of convergence of record legal immigration, record illegal immigration with asylum-seekers, so-called, from outside Europe, flooding in from countries like Nigeria, Algeria, and then also the Ukrainian crisis,” he explains.

While skepticism of illegal immigration has existed among citizens, it hasn’t been matched politically.

“Every political party supported this; there was total elite consensus, total consensus across the political paradigm, entire media consensus. So it’s an interesting case right now,” he says.

Chen notes that the stats reflecting Ireland’s immigration boom might not sound that serious, but they are.

“Speaking of 3%, I think when we just hear that number, that doesn’t sound that big,” Chen says, “but what I think people really need to understand is that left to their own devices, I’m pretty sure Ireland’s own native birth rate is below replacement.”

“So the fact that it’s growing by 3%, it’s actually even more than that because I’m pretty sure there’d be a slight population decline if there were no immigration,” she adds.

Woods notes that immigration isn’t simply to help others, either.

“Traditionally, this has been a weapon that’s used to change the demographics,” Woods says. “That’s a difficult thing to reverse.”



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Caitlin Clark attacked on and off the court; critics accuse her of ‘white privilege’

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Caitlin Clark was on the receiving end of a hard foul from Chicago Sky guard Chennedy Carter during her WNBA game on Saturday — and it seemed the attack was for no apparent reason.

While no one is sure what prompted the attack, Sunny Hostin of “The View” has a theory.

“I do think that there is a thing called pretty privilege, there is a thing called white privilege, there is a thing called tall privilege, and we have to acknowledge that,” Hostin began.

“And so, part of it is about race because if you think about the Brittney Griners of the world, you know, why did she have to go to play in Russia, because they wouldn’t pay her,” she concluded.

Lauren Chen agrees that there is such a thing as pretty privilege and tall privilege but does not agree with Hostin’s comments about race.

“I think tall privilege is especially going to help you in the WNBA, but I just don’t understand the obsession with automatically, we have to make it about race. From what I understand, it seems like Caitlin Clark is measurably just a better player than these other women, regardless of what their race is,” Chen says.

“I think it’s just a lot easier to say, ‘Oh, well you’re only making it because you’re white,’ then just admit that ‘Yeah, you’re actually better than these other players,’” she adds.

While Chen disagrees with Hostin’s take, "The View" cohost isn’t alone in her views.

Jemele Hill also called Caitlin Clark’s fame “problematic” and about “race and sexuality.”

“We would all be very naive if we didn’t say race and her sexuality played a role in her popularity,” Hill told the L.A. Times. “While so many people are happy for Caitlin’s success — including the player; this has had such an enormous impact on the game — there is a part of it that is a little problematic because of what it says about the worth and the marketability of the players who are already there.”

“Well, maybe marketability is in part based on performance,” Chen comments. “And it kind of seems like Caitlin Clark is just a better performer regardless of her race or her sexuality.”


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‘The Office’ new spin-off series has been greenlit, but will it flop?

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In a development that could be either devastating or thrilling for fans of “The Office,” the famous show has been greenlit for a spin-off series.

The Peacock series will be a fresh mockumentary featuring a brand-new cast within the same universe as Dunder Mifflin — where all the fan favorite characters worked. However, the show will not be set in Scranton, Pennsylvania, but instead at a failing Midwestern paper company.

“Because this new series will technically be a spin-off instead of a straight reboot, we are at least avoiding the possibility that we get black trans Michael Scott or, I don’t know, nonbinary Mexican Jim Halpert,” Lauren Chen says, who is admittedly a huge fan of the original series.

But Chen is skeptical.

“NBC has been so very blatant in marketing it specifically as a spin-off to ‘The Office,’” Chen says. "They had the opportunity, there was the possibility, of just marketing this new as of yet untitled show as a new sitcom from the creator of ‘The Office.’”

“However, the fact that they are really making it clear that no, this is a spin-off of ‘The Office’ and it’s the same universe, it kind of seems like they’re cheaply trying to attach ‘The Office’ and all the goodwill and fandom that show now has to this new thing.”

“It feels very cheap,” she adds.

While fans of “The Office” have hoped that old cast members will return to the new show, Chen says the “lead stars of the original series are absolutely not interested in it.”

Steve Carell, who played Michael Scott in the original series, shot the idea down right away in an appearance on Stephen Colbert’s show.

“I doubt it,” Scott said when Colbert asked if he’d appear in the show.

“He’s not interested; he’s not in it,” Chen says.

“Keep in mind, this is someone who didn’t even want to finish the rest of the original series. He peaced out.”

John Krasinski, who played the beloved Jim Halpert in the original series, has also said he won’t be in the spin-off series either.

“I’m just not confident that it’s going to be done well. Maybe I’ll be proven wrong,” Chen says.


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Womp, womp! Massive layoffs hit Media Matters after Elon Musk lawsuit

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Media Matters has solely existed to be a watchdog against the right for years, often seeking to ruin the lives of conservatives via cancel culture.

Now, the media company is having massive layoffs after Elon Musk brought it to court in November — and Lauren Chen is not above celebrating.

“They are a leftist watchdog organization that basically just exists to smear right-wing figures. And to be clear, the problem here is not that Media Matters advances, like, leftist talking points kind of, like, the Young Turks. No, Media Matters is really in a totally separate category,” Chen says.

“It seems like all they do is sit around consuming right-wing content, looking for sound bites or unflattering quotes to take out of context in the hopes of canceling right-wing figures,” she continues, adding, “and I therefore hate them.”

Last year, Media Matters messed up when it attempted to smear the wrong person and ended up getting sued by Musk. Media Matters was accused of manufacturing a report to show advertisers’ posts alongside neo-Nazi and white nationalist posts in order to “drive advertisers from the platform and destroy X corp.”

“They were essentially trying to play the algorithm to get really unflattering screenshots for X, even though for the average user this is not at all what would appear if you were using the platform,” Chen explains.

The media company has just now been forced to fire at least a dozen staffers.

“We’re confronting a legal assault on multiple fronts, and given how rapidly the media landscape is shifting, we need to be extremely intentional about how we allocate resources in order to stay effective,” the president of Media Matters, Angelo Carusone, said in a statement.

“For right-wing content creators like myself, that means there’s going to be fewer people out there looking to basically quote mine you in the hopes of destroying your career,” Chen says happily.


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Lara Croft goes woke; no longer a ‘raider of tombs’ to ‘escape colonial past’

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Phoebe Waller-Bridge has officially taken on the role of director for the Lara Croft TV series, and Amazon has announced that the show has been greenlit — but fans are not happy.

Waller-Bridge recently starred alongside Harrison Ford in "Indiana Jones and the Dial of Destiny," where she played a very feminist character who berated Ford at every turn.

“So, is this Amazon iteration of Lara Croft going to be more of the same? Just an obnoxious girl boss who only exists to undercut her male colleagues and costars? We’ll see,” Lauren Chen says, calling her Indiana Jones film “a pretty spectacular failure.”

Lara Croft’s Tomb Raider video games have also faced criticism from fans across the globe who believe that each time a new version of the game comes out, Croft gets less attractive.

“To those of you who are Tomb Raider fans and are thinking, ‘You know what? Doesn’t matter, I’m just going to ignore the series and play the games because at least those will continue to be good.’ Well, I mean, I wouldn’t be so sure,” Chen says.

“As people have pointed out, it seems like there is actually an effort being made to make Lara Croft uglier and uglier, because of course due to feminism, as women now we are supposed to be offended by attractive women for some reason.”

Not only have video games across the board been catering more to woke ideology, but Croft especially has formerly represented the “pinnacle” of female attractiveness in video games.

“As we saw with gamer gate and more recently the whole Sweet Baby Inc. debacle, the gaming industry is by no means safe from wokeness either,” Chen says.

And it’s not just Croft’s attractiveness that’s been under attack but also her character.

The game Tomb Raider: Shadows of Truth gained negative attention as creators claimed they were transitioning Croft from “a raider of tombs to a seeker of truth” in order to escape the game's “colonial past.”

“I’m not even kidding, this is a real thing,” Chen says.


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