REPORT: DOJ Set To Approve Paramount Take Over Of Warner Bros
$111 billion acquisition.
Comedian Tony Hinchcliffe says Los Angeles writers are living in an unfunny liberal bubble of mental illness, and that includes those who write for Chelsea Handler.
Hinchcliffe's reaction to Netflix's roast of Kevin Hart aired on Monday during his show "Kill Tony," which was filmed the day after he went head-to-head with Handler in front of the world.
'They just read what the writers wrote for them without any originality whatsoever.'
During the roast, Handler called Hinchcliffe and fellow star Shane Gillis white supremacists and Nazis who would rather spend their time burning crosses, while Hinchcliffe poked fun at how the 51-year-old comedienne constantly brags about being childless and single.
Hinchcliffe wasted no time getting right into the good stuff on Monday, saying that the roast was the first time he had been "called a Nazi multiple times in just a few hours."
The Ohio native recalled that while everyone human he has interacted with told him his performance was "unbelievable," fake news media was busy trying to convince the general public otherwise.
"There's news articles — because the news isn't real. Nothing is real — that say that I got lit up by Chelsea Handler, which is very, very funny because that's not what happened at all."
The "Kill Tony" host described Handler as a "c**t" who "just kept coming at me" despite making false claims like he had taken money from Saudi Arabia.
"The teleprompter only went down during my set," Hinchcliffe recalled. "And it gave me a lot of opportunity to remind Chelsea Handler what she looks like and where her life is, because she had it coming."
Hinchcliffe blamed Handler's lack of creativity on her writers, describing L.A. writing circles as "a lot of mentally ill liberals" who call him a Nazi but somehow can't tell that his show is performed with a bunch of "blacks and Jews and Mexicans" around him. Hinchcliffe was referring to his trio of Mexican brass musicians, his Mexican drummer, and his black keyboard player and black guitarist (who is also blind).
"I guess I'm a f**king Nazi somehow," Hinchcliffe added. "I guess the guy that pulls names out of a bucket, giving everybody an opportunity, is a Nazi. Isn't that something?"
Hinchcliffe described those putting racist labels on him as people who have "never written anything in their lives," summing them up as being cue-card and teleprompter readers.
"They just read what the writers wrote for them without any originality whatsoever," he explained. While some of the others are good writers, the 41-year-old admitted, "the rest of them are just living in a bubble of mental illness, and it's very exciting."
RELATED: 'ROAST' BEEF: Chelsea Handler scolds fellow comics for 'racist,' 'sexist' jokes

While Hinchcliffe disagreed with the idea that comedians like Handler should go first in the broadcast, he said it gave him the opportunity to watch what she was doing and prepare for the onslaught he was about to deliver.
Hinchcliffe paraphrased that even though he "got called a Nazi, gay, [and] a racist over and over again," he is "none of those three things," but those he made fun of are in fact "fat, ugly, black, [or] Jewish."
The "Kill Tony" crowd went wild after those comments, as Hinchcliffe concluded, "Anyway, it was fun."
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If you think the new $1.776 billion anti-weaponization fund is merely a slush fund for January 6 defendants, you are missing the bigger story. And if you are tempted to roll your eyes because of your politics, let me introduce you to my family — and to many other American families whose names you have never heard.
The truth is this: Department of Justice weaponization is rarely about politics. It is almost never about a president. It is about power — who has it, who lacks it, and which private citizens have built warm enough relationships with federal prosecutors to pick up the phone and ask for a favor.
The very existence of a publicly funded process that acknowledges the government can ruin innocent Americans marks a step the country has needed for a very long time.
I learned that the hard way.
In 2020, a former federal prosecutor then working for Amazon Web Services called his old colleagues at the U.S. attorney’s office for the Eastern District of Virginia and asked them to criminally investigate my husband, a former Amazon employee. He did not pitch a murder case. He did not allege a Ponzi scheme. He claimed my husband had violated the terms of his Amazon employment agreement.
Read that again. A private company hired a lawyer to ask the federal government to put my husband in prison over an alleged breach of a corporate HR document.
The Eastern District of Virginia opened an investigation. FBI agents pounded on my door one pandemic morning while my baby sat on my hip in a diaper. Federal prosecutors used civil forfeiture to seize every dollar in our bank accounts. We sold our house, sold our car, and emptied my husband’s retirement account to pay lawyers.
My husband was never charged with a crime. A federal judge later ruled that he had complied with the “explicit terms” of his Amazon contract. The government eventually returned 85% of what it had taken, with no apology and no explanation.
Why did this happen?
The answer has nothing to do with Joe Biden or Donald Trump. Federal prosecutors almost all leave the Justice Department for private practice. The value they bring to big firms lies in their relationships and their institutional know-how. To make partner, you need a book of business. To build that book, you cultivate corporate relationships before you leave government service. Future clients need to know you can call your old colleagues and get movement. That is the currency. That is the game.
RELATED: Conservative lawyer John Eastman punished AGAIN for representing Trump

The lawyer who pushed for the investigation of my husband had spent years as a line prosecutor in the Eastern District of Virginia. He called the sitting U.S. attorney, his former colleague. The U.S. attorney looped in the criminal chief, who had also worked with Amazon’s lawyer in that same office. In later civil discovery, we obtained an email in which the criminal chief reassured Amazon’s lawyer that she had “specifically selected” her “two best prosecutors” for his client’s “important matter.”
The important matter was a private employment dispute.
Two of the best prosecutors in a major federal district were assigned by name to a corporate HR grievance because the corporation’s lawyer used to work down the hall. Bill Barr once warned that the investigation itself is the punishment: “People facing federal investigations incur ruinous legal costs and often see their lives reduced to rubble before a charge is even filed.” He was right.
And this does not happen once in a blue moon. It happens every day in the 93 U.S. attorney’s offices across the country. It has almost nothing to do with who occupies the White House.
We are not the only ones.
If prosecutors now face some real consequence for promising their ‘best’ people as a favor to old work friends ... maybe a few of them will pause before making the call.
Ask Nevin Shetty, the former chief financial officer of a Seattle start-up. His company hired a former federal prosecutor to bring a criminal case over an investment that lost money. Shetty had moved corporate cash into a stablecoin platform he believed was safe enough to entrust with his own life savings. Then the stablecoin collapsed, erasing $60 billion in four days, and the platform’s founder later pleaded guilty to fraud.
The National Association of Criminal Defense Lawyers called Shetty’s prosecution an “improper attempt ... to stretch the wire-fraud statute beyond its breaking point.” Shetty was convicted anyway and sentenced to two years in federal prison. At bottom, his “crime” was violating company investment policy. The start-up, by the way, had billionaire investors on its board.
Ask Michael Kail, the former Netflix executive. Netflix hired another firm thick with former federal prosecutors to pursue criminal charges over a violation of its “culture deck,” which barred outside advisory work for vendors. He is in federal prison today, separated from his wife and two teenage sons. The start-up founders who supposedly paid him were never prosecuted. Netflix, of course, was founded and run by a billionaire.
Ask Ryan Bloom, the former construction company CEO charged with bank fraud over allegedly false bank invoices. Agents arrested Bloom in front of his young child, who was left alone when they hauled his father away in handcuffs. Later, the judge learned that the prosecutor’s wife worked for the University of Oklahoma, whose president founded and sat on the board of the alleged victim bank. Under that president, her salary had doubled to $310,000, with a $100,000 raise arriving two months before the superseding indictment, even as the university cut costs elsewhere. The court disqualified the prosecutor.
After 18 months of hell, the charges were dismissed. No billionaire required. Just a prosecutor with a personal stake and enough power to wreck a family before anyone checked his work.

Now flip it.
Take billionaire Robert Smith. After a four-year investigation, the government’s top tax prosecutor was prepared to indict him in one of the largest individual tax-fraud cases in American history. Smith had allegedly hidden more than $200 million in income through offshore structures. Instead, he got a non-prosecution agreement. He paid $139 million, admitted to “an illegal scheme,” and walked away a free man, still running his firm, still worth billions.
Compare those ledgers and tell me what you see.
I see a justice system weaponized not mainly by presidents, but by access — by titans of business, by corporations rich enough to hire the right former prosecutors, and sometimes by prosecutors themselves. It is a quiet, daily message to the rest of us: Get in line, or we can ruin you.
And while we are being honest, ask yourself why federal prosecutors did not exactly race to take down Larry Nassar before Olympic gymnasts forced the issue. Or why Jeffrey Epstein secured a sweetheart non-prosecution deal in 2008, even as dozens of women came forward. My theory is simple. No future law firm partnership is built on prosecuting a gymnastics doctor or a sex trafficker. No lucrative book of business waits on the other side. Prosecutors are human. They respond to incentives. Regular American families pay the price.
So no, the anti-weaponization fund is not just for railroaded January 6 defendants. Read the government’s announcement. It contains no partisan requirement for filing a claim. The fund exists, in Acting Attorney General Todd Blanche’s words, to redress “victims of lawfare and weaponization.” That category includes far more Americans than cable news will admit.
It includes the family that lost their home to civil forfeiture even though no charges were ever filed. It includes the CEO arrested in front of his child over a case later dismissed. It includes all of us who do not have a billionaire’s lawyer on speed dial.
I do not know yet whether this fund will be administered fairly. But the very existence of a publicly funded process that acknowledges the government can ruin innocent Americans marks a step the country has needed for a very long time.
And here is the part that gives me hope. If prosecutors now face some real consequence for promising their “best” people as a favor to old work friends, or for running a case while their own families cash in, maybe a few of them will pause before making the call. Maybe the next family will get to keep their house.
That is worth $1.776 billion of the federal budget. It is worth much more than that.
Ask anyone who has lived it.
"Saturday Night Live" actor Michael Che mocked Netflix's Kevin Hart roast for having too many white writers after backing out of the production himself.
Che, who chose not to participate in the show due to a scheduling conflict with "SNL," Variety reported, posted online two days later about white writers writing for a roast about a black comedian.
'White guys and black people joke different.'
Even though veteran comic Jeff Ross told Variety on Monday that, like all roasts, "nothing was off limits," Che followed up on Instagram on Tuesday with critiques about the jokes that were made.
"White guys and black people joke different. Black guy[s] roast like, 'Look at this n***a's shoes!'" Che began. "White roasts are like, 'Slavery, math, slain teens, sex crimes, slurs, family secrets.' White guys don’t give a f**k about they shoes."
That post has since been removed, as was Che's second post, which again focused on the race of the comics on the show.
"Let's do a roast celebrating the career of the most successful black comic in the last 10 years," Che wrote. "I love that! Who should we get to write it?" In the next slide of the post, Che showed a picture of five white writers hired by Shane Gillis: Nick Mullen, J.P. McDade, Mike Lawrence, Dan St. Germain, and Zac Amico.
Che followed the picture up with the text, “C'monnnnnnnnn ... that's not funny?"
Not only would the implication be that black comedians who performed, like Katt Williams, did not write their own jokes, but that there weren't other black comics who wrote for the show; he was completely wrong.

Che's choice of writers to mention may have been selectively curated, however. Not only did the production have 17 different writers listed on the IMDb page — several of whom were black — there were an additional 17 comedians who provided "special material."
Comedian David Lucas, who is black, confirmed on his Instagram page that this refers to additional writers.
"God is Great I was one of the Writers on the Roast of Kevin Hart," Lucas wrote, alongside a picture of the credits that featured his name.
Along with Lucas were several other black comedians like Jerron Horton, Spank Horton, and Myke Wright. The writing group also included female writers like Vannesa Ramos and Madison Sinclair.
After seemingly receiving backlash over his comments, Che put out a new statement saying, "Im sorry I said those writers were white."
"They're not," he added. Followed by, "Please respect my family's privacy at this time."
Che also liked a fan comment that joked that it takes a real man to admit when he's "not wrong."
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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.'
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'
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.
RELATED: Welcome to WokeNut Grove: Sneak peek at Netflix's 'Little House on the Prairie' reboot

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 founder and chairman of Netflix, the Democratic megadonor Reed Hastings, is stepping down from the company’s board in June "in order to focus on his philanthropy and other pursuits," the company announced late on April 16.
The post After Netflix, What Is Democratic Megadonor Reed Hastings’ Next Move? appeared first on .
Because Hollywood has been unable to create anything new for at least 20 years, Netflix is "rebooting" "Little House on the Prairie." That almost certainly means trouble.
No stories have been more important to me than the fictionalized autobiographical series written by Laura Ingalls Wilder. As a poor child in a single-mother broken home, we didn't have luxuries growing up. Some kind soul donated a boxed set of the "Little House" books to an "angel tree" Christmas drive where poor families could choose a gift for their children.
The Ingalls family leave their cabin in Wisconsin to make way for an indigenous family violently displaced by pioneer gentrification.
I opened my present to find this set of books. I read and re-read them so many times they were in tatters when I reluctantly threw them away a few years ago. I'm lucky to have a good friend who bought me a new hardback set for Christmas.
The values of independence, self-sufficiency, owning your mistakes, repentance, and forgiveness inside a loving family and community was everything I wanted life to be. It taught me values and gave me hope for something better than the frightening home in which I was raised.
The long-running television series based on the books was my favorite show. We watched it when it was new, and we watched it in reruns. Viewing the original "Little House" series today, one is struck at first by how sentimental it seems. But on second thought, it probably reads that way not because the original was truly that sappy, but because our society and our selves have been so coarsened in the 40 years since the show aired.
Look at where we are today as the release of the new Netflix version approaches. It used to be that when new movies or TV shows came out, prospective viewers would ask questions like: Will the cast be good? Will the premise hold up for more than one season? How are they going to pull off the special effects that the premise demands?
What we weren’t talking about was whether the show was going to beat us over the head with painfully au courant political and social dogma. The thought didn't even occur to us before about 2014. Now, it's the only thing any aware adult can think about when they see yet another "reimagining" of a book or TV series.
Reimagining? A better word is "profanation." These reboots often explicitly insult the original version in order to signal how superior the current show runners are to their "racist," "sexist," "homophobic," and otherwise unenlightened forbears.
Look what Hulu has done to the 2000s-era sitcom "Malcolm in the Middle." The original show — that is to say, the real show — was about an “eccentric” family that drove middle child and IQ genius Malcolm nuts. The reboot, titled "Malcolm in the Middle: Life's Still Unfair," brings back most of the original cast with some 2020s-style mandatory identity insertions.
Malcolm's best friend Stevie has gay-married a man and adopted a boy child. But wait, there's more! Malcolm and his brothers have a new "sibling" named Kelly who's not a girl. She ... sorry, they is ... sorry, are "non-binary."
The piano-music-special-moment-interlude is like getting teeth drilled without anesthetic. The very obviously female Kelly tells her ... darn it, tells they’s parents, "I was like 5 when I started feeling wrong."
Take an antacid before you watch the clip.
RELATED: The 'Malcolm in the Middle' reboot is so woke even Hollywood hates it

I know that I don't have to watch the new "Little House on the Prairie," but I do have to. Won't be able to stop myself, even though I know it's probably going to make me mad. I know the original books still exist, and I know that I can watch the original show. But irrational though it may be, just the possibility that Netflix is going to inject modern-day narcissistic depravity into something so pure — well, it feels like it's going to contaminate my memories of something wholesome.
So let's rip the Band-Aid off and get the hard feelings out of the way before the show comes out. Here are my predictions for the first season of the new and undoubtedly to-be-improved "Little House on the Prairie."
The Ingalls family leave their cabin in Wisconsin to make way for an indigenous family violently displaced by pioneer gentrification. We see the covered wagon pull away from the cabin as Chief Whining Shrew refits the log house with dreamcatchers, essential oils, and a slot machine by the side of the road.
They set out across the prairie headed for a town where they can make a new, sustainable life. In the closing scene, a sign ahead reads Welcome to WokeNut Grove. A young indigenous woman in traditional garb halts the wagon and warns Pa, "Bruh — do not EVEN call me squaw."
Mary and Laura's first day of school teaches them a lesson more valuable than the three Rs: empathy. The one-room schoolhouse is presided over by Mx. Beadle, a spinster — sorry, a non-binary educator — who keeps breast binders in her desk for the children who can't afford affirming clothing.
When Laura wrinkles her nose at the proffered tube top, Mx. Beadle makes Laura write, "NON-MEN AND NON-WOMEN ARE VALID" 50 times on the blackboard.
We're introduced to the spoiled rich kid bully, Nelson Oleson. Nelson was assigned female at birth, but with the help of his domineering mother, Harriet, Nelson discovers he was actually a boy inside all along. In a surprising twist, it turns out Nelson's little brother is also actually his little sister, Wilhelmina. Everyone accepts this statistical improbability, AND YOU'D BETTER TOO.
With his golden ringlets peeking out from under a newsboy cap, Nelson taunts Laura on the way to school, shouting, "Sissy! Sissy! Sissy!" until Laura pushes him into Plum Creek. Nelson's binder pops off during the scuffle, revealing his gender assigned at birth. Laura has to work after school at the Oleson Mercantile sewing Nelson new binders by hand while Wilhelmina gets to make doll clothes on the newfangled sewing machine.
With the crops failing, Pa goes to the town sawmill to look for work. He's about to join the crew when he notices that all the working hands are white men. Pa calls for the immediate shutdown of the mill until the diversity-in-work committee can get to the bottom of why so many white men have been allowed paying jobs.
The mill stays shuttered throughout the summer under a banner proclaiming "NO JUSTICE, NO PIECE (OF LUMBER)." Meanwhile, the town's white men are conscripted into a chain gang to build a wheelchair hoist so that Hester Sue Terhune, the town's wise black paraplegic, can wheel over to the cutting blade and take her rightful place as foreman. Three white families in tents die from exposure that winter, and the town celebrates with an ice cream social.
When a family of gypsies — sorry, travelers — rolls into town, they are met with prejudice and bigotry as they try to open an honest business for Roma sex workers. Realizing the violent oppression woven into WokeNut Grove's founding documents, the town council repeals the ban on bawdy houses. The Pekrul family opens the Galatea Galerie, where rooms are let by the half-hour.
Mary goes to work at the Galerie but comes home with a severe case of harlot fever. Bedridden for weeks, when Mary tries to get up, she realizes something is terribly wrong. The camera zooms in on her vacant eyes as she cries, "Pa! Pa! I can't see my gender identity!" Ma, Laura, Pa, and Carrie take on extra jobs to save up so Mary can afford to go to the Iowa School for the Trans.
The season ends with Ma applying homemade dye to Mary's hair made from crushed lavender. Credits roll as a train whistle approaches town.
Stay tuned for Season 2.
There was a time when Louis Theroux was the best documentary-maker alive. Not the most famous, not the flashiest — the best. He had a gift for making dangerous people feel comfortable enough to hang themselves with their own words.
His technique was deceptively simple: show up, look confused, ask the obvious question nobody else dared ask, and let the awkward silences do the heavy lifting.
Theroux spends much of the film asking genuinely dangerous, profit-driven men why they do not try being nicer.
The results were extraordinary. He immersed himself in the Westboro Baptist Church and revealed something more than fire-and-brimstone rhetoric — that hatred has a morning routine, eats cereal, and goes to bed at a reasonable hour.
He walked into San Quentin and found the prison’s strict social architecture more fascinating than horrifying. He sat with alcoholics dying in a hospital liver ward and captured something devastating without once reaching for a violin. He starred in a porn film fully clothed, somehow maintaining both his dignity and his curiosity.
His early work was morally serious without being moralistic — an almost impossible balance that he struck repeatedly.
That Theroux is gone.
In his place stands something considerably less interesting: a concerned therapist in training with a camera crew, packaging society’s oddballs for an audience that already knows what it thinks of them.
His latest Netflix outing, "Inside the Manosphere," is the clearest evidence yet. Theroux plunges into the world of online alpha-male influencers — Harrison Sullivan, Justin Waller, Myron Gaines, Sneako — tracking their revenue streams, their rhetoric, and their relentless contempt for women.
Miami apartments. Spanish nightclubs. Podcast sets where female guests are humiliated for content.
Sullivan funnels Telegram followers to OnlyFans accounts for kickbacks while publicly mocking the creators. Waller hawks Andrew Tate’s $49-a-month “university.” Gaines, a man of genuine venom, performs dominance for the camera like someone who has mistaken cruelty for confidence.
The material is genuinely ripe. These men are running sophisticated grift operations dressed up as philosophy, monetizing male loneliness and directing the resulting rage at all women. They deserve scrutiny.
The problem is that Theroux no longer scrutinizes. He pathologizes.
Every interaction becomes a therapeutic probe. Every exchange is framed as evidence of something “disturbing.” The wide-eyed incredulity — once a genuine performance of curiosity — now reads as practiced horror for a largely left-leaning platform.
When Sullivan admits bluntly that he would never have found an audience doing wholesome content — “If I’d just done good things, I would never have blown up” — it is the most honest moment in the film.
Theroux treats it as a tragedy. It is simply capitalism.
Sullivan knows exactly what he is doing.
The real story is not that these men are broken. It is that they have correctly identified a lucrative market of young men who feel abandoned by mainstream culture — and are bleeding them dry. That is the documentary.
Theroux keeps making a different one — a morality play in which he is cast as the bewildered voice of reason.
RELATED: Muscular Christianity: Debunking the manosphere’s lies

The irony is that his presence amplifies the very thing he deplores. Sullivan’s mother, in a sharp moment the film almost buries, asks the obvious question: If you find this so reprehensible, why are you publicizing it?
Theroux spends much of the film asking genuinely dangerous, profit-driven men why they do not try being nicer — roughly as effective as asking Putin to send Zelenskyy a fruit basket.
He is outmatched by people who have spent years controlling their image, and he does not seem to notice. These are seasoned sharks who have fielded far worse and treat the beanpole Brit like a speed bump on the way to their next revenue stream.
What made the early work so extraordinary was Theroux’s apparent absence of agenda. He let meth addicts, dementia patients, Scientologists, and porn stars speak for themselves and trusted audiences to draw their own conclusions. He did not editorialize.
The manosphere documentary editorializes constantly — each segment arriving labeled, prejudged, prepackaged for viewers who tuned in already convinced.
This is what woke documentary-making looks like at its most comfortable: confirming what the audience believes in a way that seems like investigation.
It is virtuous voyeurism — and painfully dull television.
The manosphere — equal parts genuine grievance and cynical exploitation — is a real and fascinating phenomenon. The young men being farmed for subscription fees and manufactured resentment deserve actual examination, not a wagging finger and a worried look.
Theroux was once the person who could have done that.
Watch "Drinking to Oblivion." Watch "The Most Hated Family in America." Watch a man doing the hardest thing in journalism — entering without a verdict and finding something real on the other side.
Sadly, that man traded his instincts for a Netflix brief and never looked back.
He got paid. The audience got a lecture.
Stand-up comedian Mark Normand believes in making fun of everyone, equally.
When asked about his latest Netflix special, Normand said he wanted to be "inclusive," meaning he wanted to make fun of people from all walks of life.
'I want you to admit on this call that they're a dangerous people.'
Normand told podcaster Shannon Sharpe recently that he gave "equal opportunity" mockery to every group, including "trans, Mexican, black, gay, Muslim, everyone."
It was one of those specific groups that executives confronted Normand about and wanted it removed from his hour-long set. The comic revealed a phone call he received from top brass recently, and while most would assume he was referring to Netflix — given that his "None Too Pleased" special was just released on the platform — a Normand voiceover told audiences multiple times it was actually Hulu he had the conversation with.
On the podcast "Tuesdays with Stories," the New Orleans native recalled, "About a week ago or two weeks ago, they said, 'Send us a couple jokes you like. We'll chop them up and use that as promo on social media.'"
A week later, representatives allegedly asked the comedian to have a conference call, which he was not looking forward to because it's "18 Jews on there with a speakerphone and my Jews," Normand joked with co-host Joe List.
"They go, 'Yeah, we got some bad news there. We reviewed the special again. We'd like to take out the Muslim joke.'"
Normand explained that staff told him that the last time "a comic did a Muslim joke," they got bomb and death threats. But the 42-year-old said he refused to take it out.
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"I like the joke. It kills. It's a hot joke," Normand said, adding, "And you know, no one touches 'Muzz,'" referring to Muslims.
The comic said he fought for his joke, telling the platform, "You approved it. Now you're going back."
The platform allegedly then focused its battle on not removing the joke from the special itself but rather getting Normand to agree that it would not appear in social media promotions. The platform apparently believed social media was where most of the turmoil and backlash spawns from, not from people actually watching the special.
In response, Normand then gave the reps an ultimatum:
"OK. I don't love it, but OK. I will take it off on one condition," he recalled saying. Normand then said he told those on the call that he would only approve the social media plan if they admitted Muslims are dangerous.
"I want you to admit on this call that they're a dangerous people. And they were like, 'What? No. What, are you crazy?' And I'm like, 'You got to admit it, or I'm keeping it, or I'm posting it.'"
Normand said he could hear the commotion through the phone, until he was eventually told they would not adhere to his request, chiefly because it's "offensive."
That's when Normand called out the studio's hypocrisy.

"That's what the call is!" Normand remembered. "You're calling about this, and I just need you to say it out loud."
Remembering his phone call had Normand up in arms on the recent podcast, as he mocked the executive class for "signaling" about their beliefs but not standing behind them.
"You can say, 'Hey, I love this group.' But then you don't live near them. You know, we're all talk. We're all signaling. We're all virtuous, but you don't actually act that way."
"So they admitted it," Normand said to his surprise; and while he did reveal he was "half joking" when he made his request, the comedian had a good time getting "a group of HR homos" to say, "All right, they're dangerous. We'll see you later," before hanging up the phone.
As for which platform Normand spoke to, Netflix did not respond to a request for clarification; Hulu did not reply either. Normand seemingly had one special on the latter platform, "Out to Lunch" (2020), but it appears to no longer be available.
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