Colbert gets canceled — by CBS, not conservatives
Stephen Colbert has been vaporized, canceled by CBS. Donald Trump is celebrating. Liberal Hollywood is outraged! Regular folks don't care.
Goodnight, everybody!
New ownership at CBS is looming, and Skydance Media evidently doesn’t want a leftist pep rally every night.
But not so fast. This is a fascinating story when you examine the power angle. The once-dominant network television media is completely falling apart. According to the Nielsen folks, fewer than 20% of Americans now watch any network programming. Why? Because it’s largely boring, and traditional Americans resent the liberal culture the networks embrace all day and all night. Woke on parade. Political correctness run amok.
I have a unique vantage point here. Because of my bestselling books and controversial demeanor in general, I have appeared on late-night shows an astonishing 75 times. I know all these guys and the world they inhabit.
Colbert basically committed performance suicide. When he took over for David Letterman 10 years ago, he was coming off the red-hot satire of Jon Stewart’s “Daily Show” and his own “Colbert Report.” Yes, the boys were left-handed pitchers, but they tamped down the malice — at least somewhat. I had a lot of laughs debating Stewart.
Over the past five years, Stephen Colbert has lost more than one million viewers; his numbers descended to just above two million households daily. Profits crashed.
The primary reason for this runaway train is Colbert’s hatred for Trump and the MAGA brigades. Eighty million Americans voted for the president. Few of them can stomach Colbert’s schtick. Ideological zealotry at midnight can be tedious. The all-time king of late night, Johnny Carson, understood that. Old Johnny got his zingers in, but he rarely tried to demean anyone.
All the late-night hosts have talent. It’s impossible to do the job if you don't. Letterman was very quick and edgy. My debates with him are legendary, especially the one where he called me a thug but couldn’t back it up when I challenged him.
On my final appearance with Dave, his audience gave me a standing ovation.
Letterman was cranky but rarely displayed overt hatred. He invited me on 16 times and wrote me a gracious note after every appearance.
Jay Leno was essentially a stand-up comedian, not deeply invested in promoting politics. Same with Jimmy Fallon, although he understands the far-left culture at NBC. Remember the heat Fallon took when he good-naturedly messed up Donald Trump’s hair?
RELATED: Farewell to Stephen Colbert, fake laughs, and lame late-night bias
Jimmy Kimmel has drifted into the political swamp mostly because he despises the president. I like Kimmel personally. But he’d be wise to spread the satire around. ABC will be the next place to purge extremists.
My old adversary, Stewart, a brilliant talent, has also succumbed somewhat to strident presentations. Although when I sparred with him last August, the mischievous glimmer was back, at least for a night.
So Stephen Colbert leaves the CBS stage. New ownership is looming, and Skydance Media evidently doesn’t want a leftist pep rally every night. Hollywood will take care of Colbert, so we will see him again.
I bet Donald Trump can’t wait.
Editor’s note: A version of this article appeared originally at billoreilly.com.
James Gunn ERASES America from Superman's catchphrase
If Americans thought the era of woke Hollywood films was coming to an end, they were sorely mistaken.
The latest "Superman" film directed by James Gunn centers on the idea that Superman is an immigrant and has traded the classic motto “Truth, justice, and the American way” for “Truth, justice, and the human way.”
When questioned about the backlash, "Superman" co-star Nathan Fillion laughed as he told reporters on the red carpet that “somebody needs a hug” and that it’s “just a movie.”
“I wish that it was just a movie, ‘cause that’s what we want,” BlazeTV host Sara Gonzales comments. “Like, I just want a movie.”
“It’s almost like this is gaslighting,” she continues.
“You guys are the ones who, if you're not injecting it directly into the movie, you’re injecting it into the conversation around the movie, and then it makes people be like, ‘You know what? I don’t even want to see your stupid movie.’”
BlazeTV contributor and founder of Rippaverse Comics Eric July is well acquainted with the comic book industry and isn’t a fan of the political turn Superman is taking either.
“When you look at the comic book industry and comic book movies over the last several years and what’s happened, they’ve used this as a vehicle for their own political and social political agendas. It's no secret,” July tells Gonzales.
“The context matters,” he continues, “and especially with regards to Superman, if you understand what DC has been doing in their comics as of late.”
July explains that in the comics, Superman’s minor son is now gay.
“Of course they’re going to use Superman as a vehicle to say, ‘Hey, this is a character you guys like. Well, he’s ours. He represents what we all want,’” July says, noting that using a character from Planet Krypton to make an immigrant connection is a “disingenuous way to even look at that.”
“You don’t get to hijack Superman and try to make it about you,” he adds.
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Superman's message to MAGA: ‘You’re not American’ if you don’t love immigrants
After being fired by Disney in 2018 for pedophilia and rape comments spotlighted on social media, “Superman” director James Gunn is no stranger to cancel culture.
However, this time, he’s facing backlash from conservatives after calling Superman “an immigrant that came from other places” in a new interview.
“I’m not here to judge people,” he told Variety magazine at the "Superman" premiere at Hollywood’s TCL Chinese Theatre. “I think this is a movie about kindness, and I think that’s something everyone can relate to.”
Gunn’s brother, Sean Gunn, who plays Maxwell Lord in the film, also took issue with the backlash.
“We support our people, you know? We love our immigrants. Yes, Superman is an immigrant, and yes, the people that we support in this country are immigrants, and if you don’t like that, you’re not American. People who say no to immigrants are against the American way,” his brother said.
BlazeTV host Stu Burguiere is disappointed that yet another Hollywood film is going the woke route.
“Did you follow what happened with 'Snow White'? Did you see that whole situation? Did you not notice that people don’t want this type of messaging inside their movies? And if you’re going to do it, just shut up about it. Let people, you know, lead the horse to water, if you will. You don’t need to take the horse’s head and jam it under the liquid,” Burguiere says on “Stu Does America.”
According to Sean Davis, CEO and co-founder of the Federalist, the outlook for the film isn’t bright anyway — and he has an interesting theory as to why they’re already jamming the immigration story down America’s throats.
“The movie is terrible, test audiences hated it, and they’re now running the Lady Ghostbusters marketing op so they can blame bigotry for their movie tanking instead of taking responsibility for making a garbage movie,” Davis said in a post on X.
“I kind of like that idea,” Burguiere comments, adding, “It’s certainly possible.”
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'Elio' was lame. Making him gay wouldn’t change that.
Would Disney’s latest flop, “Elio,” have been saved if the company made the film “lame and gay” instead of just lame? Some of its creators seem to think so.
According to the Hollywood Reporter, “Elio” was originally conceived as a story about a lonely, bullied 11-year-old gay boy who gets whisked away by spacefaring aliens to represent humanity in the “Communiverse” — an intergalactic version of the United Nations. In the original version, Elio’s ability to empathize with outsiders, shaped by his own struggles as a bullied homosexual, helps him save the universe from hostile invaders.
If 'Elio' teaches Disney anything, it’s this: Wokeness isn’t a narrative. It’s a trend. And it’s over.
But that version never saw the light of day.
After disappointing test screenings and intervention from Pixar’s chief creative officer Pete Docter — the force behind hits like “Toy Story,” “Up,” and “Inside Out” — the studio sidelined the film’s openly gay director, Adrian Molina, and toned down the “queer-coding.” According to one Pixar artist, “Studio leaders were constantly sanding down these moments in the film that alluded to Elio’s sexuality.”
Gone was the scene where Elio designs clothes from pink trash and holds “trash-ion shows” for crabs. The male crush poster? Removed. The environmentalist bent? Dialed back. What’s left is a generic misfit who rises to the occasion — not by discovering his sexual identity but by finding courage and strength.
Predictably, the movie tanked. Despite a rumored $250 million budget, “Elio” grossed just $21 million in its opening weekend. Critics panned the film as derivative and dull. Pixar, once hailed for original storytelling and cross-generational appeal, recycled old tropes and slapped them onto a limp narrative.
As Federalist writer Gage Klipper put it: “Elio, crushed under the weight of its derivative storytelling and animation, might as well have been an umpteenth sequel. The viewer walks in and, within moments, already knows he’s seen this film a thousand times.”
So would making Elio “lame and gay” instead of just lame have saved the movie?
Of course not. A more flamboyantly queer lead might have offered marginal character development — but at the cost of turning yet another kids’ movie into a vehicle for ideological affirmation. And audiences have already seen that show. Multiple times.
Just look at “Lightyear” (2022) and “Onward” (2020). Both featured brief LGBTQ references — a kiss in one, a lesbian reference in the other. These scenes had zero impact on plot or character. They were token gestures meant to signal virtue. But even that was enough to stigmatize both films as woke propaganda, unfit for children and alienating to mainstream audiences.
Executives at Disney and Pixar likely concluded that “Lightyear” and “Onward” flopped because of the gay content. That’s why they stripped it from “Elio.” But “Elio” failed for the same reason those other films did: weak characters and lousy storytelling.
RELATED: The culture war isn’t a distraction — it’s the main front
Even the queerness in those earlier films seemed less like sincere inclusion and more like a cynical marketing ploy — a way to gin up press during peak woke culture. While it may not have delivered blockbuster numbers, the controversy generated buzz.
That trick doesn’t work anymore.
In 2025, the political moment has passed. The original version of “Elio” would have been as embarrassing as Marvel’s “Ironheart” — the new Disney+ series about a young black woman who builds her own Iron Man suit of armor so she can steal money and become famous. Maybe that premise sounded edgy in 2022, but now it just looks desperate and dumb.
If “Elio” teaches Disney anything, it’s this: Wokeness isn’t a narrative. It’s a trend. And it’s over.
Whatever moral high ground advocates claimed — about representation, equity, and tolerance — was always more about pandering to activists than elevating art. Audiences saw through it then, and they definitely see through it now.
Pixar’s former magic lay in telling universal stories. That’s the vision Pete Docter championed. But his colleagues and subordinates ignored it, instead giving audiences mediocrity wrapped in buzzwords. Unsurprisingly, audiences walked away.
Maybe now, finally, the message will stick.
The new ‘Karate Kid’ just kicked grievance culture in the teeth
The new “Karate Kid” movie has a surprising twist: older men teaching younger men to work hard, honor tradition, and develop a virtuous character. “Karate Kid: Legends” is exactly what you think it’s going to be — and thank God for that.
If, like me, you grew up trying to perfect the crane kick in the living room after watching the original “Karate Kid,” then this movie will hit all the right beats. It follows the classic formula: an underdog with raw talent, a wise mentor with quiet gravitas, a villain who cheats, and the enduring truth that virtue matters more than victory.
New movie, timeless themes
You might ask, “So ... it’s not a great movie?” No. It is just what you expect, and that’s what makes it great. It doesn’t pretend to be something else. It’s not trying to be edgy, subversive, or “reimagine the genre.” It isn’t the millionth movie in the “Sixth-Sense-twist-at-the-end” series of hackneyed films we’re all bored with. It’s just a good old-fashioned “Karate Kid” movie. And in an age when every studio seems bent on turning childhood memories into political lectures, this is a welcome roundhouse to the face.
The tradition here is simple and good: older men teaching younger men how to face suffering with courage and to live lives of virtue.
No woke sermon, no rainbow flag cameo character delivering predictable lines about systemic injustice, no Marxist backstory about how dojo hierarchies are tools of capitalist oppression — this isn’t a Disney film, and you can tell.
Instead, it asks a dangerous question, one so controversial it might get you fired from an English department faculty meeting: Do hard work, discipline, tradition, and honor still matter?
In the woke world, of course, the answer is no. Disney movies now teach that tradition is oppressive, virtue is repressive, and hard work is a tool of colonialist mind control. Your feelings are your truth — and your truth is sacred. If you feel like turning your back on your family to pursue LGBTQ+ sex, then you’re the greatest hero in human history. But “Karate Kid: Legends” doesn’t go there. It doesn’t need to.
It’s not a message movie. But it has a message. And it’s one even a child can understand: Be honorable. Do the right thing. Grievance and self-pity don’t lead to victory. And if they do, it’s a hollow one.
Mentorship, hard work, virtue
The film also manages to affirm tradition without being heavy-handed about mystical Eastern spiritualism or ancestral ghost sequences. Disney spews New Age spirituality in cartoons for kids at every opportunity.
The “tradition” here is simple and good: older men teaching younger men how to face suffering with courage and to live lives of virtue. That includes working through loss — deep loss, the kind that could break a person. But instead of turning to rage or self-indulgence, our young hero learns to endure, to persevere, to get back up — and maybe, just maybe, deliver that final clean kick.
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Of course, there’s a villain who cheats. You’ve got to have that. And yes, he’s detestable. That’s kind of the point. As the smug leftist professor at your local state university might say, “So it’s about childish morality?” Yes, professor — it’s about what even a child can know: Doing the right thing and building character matters. Wallowing in the self-pity of grievance culture will never get you there.
Somehow, this simple truth has become controversial. In a world where adults cry on TikTok about microaggressions and activist professors turn every syllabus into a therapy session about their own victimhood, it’s refreshing to see a film that reminds us that life is hard. But that doesn’t mean we give up. It means we get better. Stronger. Kinder. More honorable.
And that’s what “Legends” delivers — without apology, without postmodern irony, and without the cultural sludge we’ve come to expect from Hollywood.
No Oscar? No problem.
It’s clean. It’s earnest. It’s nostalgic without being desperate. And it shows us a vision of manhood and mentorship we desperately need: older men guiding the next generation, not with snark or shame, but with honor, wisdom, and love.
So if you want a movie that will entertain your kids without corrupting them — and hopefully inspire them to build a virtuous character — go see “Karate Kid: Legends.” It may not win an Oscar (which already tells you it’s good), but it might just help restore your faith in simple, straightforward storytelling. And that’s worth more than a golden statue.
Did ‘Snow White’ actress Rachel Zegler DESTROY her career?
“Snow White” actress Rachel Zegler has stepped into the national spotlight after her starring role in the remake of the classic Disney film — but not because of her performance.
Zegler has been accused of hurting the film by Jonah Platt, son of producer Marc Platt, with comments she’s made in interviews and on social media.
In an Instagram comment, Platt claimed his father was forced to fly into New York City in August to confront the actress regarding a “free Palestine” comment she added to a promotional message posted on X.
When one commenter called Platt’s father “creepy as hell” for attempting to control Zegler’s social media posts, Platt wrote back in a now-deleted post: “You really want to do this? Yeah, my dad, the producer of [an] enormous piece of Disney IP with hundreds of millions of dollars on the line, had to leave his family to fly across the country to reprimand his 20 year old employee for dragging her personal politics into the middle of promoting the movie for which she signed a multi-million dollar contract to get paid and do publicity for.”
“This is called adult responsibility and accountability,” Platt continued. “And her actions clearly hurt the film’s box office. Free speech does not mean you’re allowed to say whatever you want in your private employment without repercussions. Tens of thousands of people worked on that film and she hijacked the conversation for her own immature desires at the risk of all the colleagues and crew and blue collar workers who depend on that movie to be successful. Narcissism is not something to be coddled or encouraged.”
Glenn Beck of “The Glenn Beck Program” couldn’t agree more with Platt.
“I don’t think I could have said it better,” Glenn says. “I would have said it meaner, perhaps.”
“This is how narcissistic our society has become. It’s all about me. It has nothing to do with the blue-collar workers that are depending on that movie to be successful, has nothing to do with the thousands of people, the tens of thousands of people that worked on that movie. No, it’s all about her,” he continues.
“You don’t have free speech without consequence. You can say whatever you want, but she was on the Disney dime,” he adds.
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New ‘Snow White’ is so bad, THIS leftist outlet called it ‘a Marxist call to arms'
Disney’s new live-action “Snow White” movie starring Latina actress Rachel Zegler debuted this weekend after years in the making.
Long before it hit the box office, the film was expected to be a giant flop due to Zegler’s negative comments about the beloved 1937 classic, casting controversies, and the wokification of the original plot line.
And it turns out that the film’s premature criticism was dead on. The movie sucks.
To get the scoop on what exactly makes “Snow White” such a catastrophic failure that people are celebrating its box office flop, Glenn Beck invites Nerdrotic’s Gary Buechler to “The Glenn Beck Program.”
“I’m ecstatic at this failure,” says Buechler. “Rachel Zegler has become the symbol of everything that's wrong with modern Hollywood right now, and seeing it just crumble does my heart good.”
“Hollywood doesn't know how to be good anymore. They are so black-pilled; they are so dystopian; they are so nihilistic,” he tells Glenn.
According to Buechler, this woke version of “Snow White” is “essentially feminism versus femininity."
“Disney took the film that built their empire — that is a paradigm shift movie, that is sacred text in Hollywood — and just threw away the original script and gave us, and I'm not kidding, communist propaganda,” he condemns.
Buechler explains that in the film, Snow White’s parents run “a socialist utopia” where all equally share the bounty of the land, the handsome prince is replaced by a thief, and Snow White is more interested in leading than finding love.
The producers, given additional time due to the Hollywood strike, even made some edits to their original plan in response to the widespread criticism. But they still failed so miserably that even the BBC called the film “a Marxist call to arms.”
“This has to be the closest a Disney princess film has got to paraphrasing 'The Communist Manifesto,'” BBC’s Nicholas Barber wrote.
As for Zegler’s career, Buechler says, “It’s over.”
“She goes to Broadway, that would be my guess,” he says.
To hear more of the conversation, watch the clip above.
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Has DEI already KILLED Disney's new 'Snow White' remake?
The long-awaited release of Disney’s new “Snow White” remake has turned out to be a massive disappointment, as ahead of the box-office opening, it had the worst Rotten Tomatoes score for a Disney live-action remake.
Before it’s official release, the critic score was 46%.
One of the top critics, Otis Henderson, wrote, “I had high hopes that 'Snow White' would make me happy; instead, this dopey remake made me sleepy and grumpy.”
While the professional movie critics weren’t pleased, the audience hasn’t been, either.
“Wow Disney, you truly are incredible. It took you three years, multiple rewrites, unnecessary CGI, and $209 million just for me to enjoy a comment section of a movie I will never watch. Bless you,” one YouTube user wrote about the trailer.
The film stars Rachel Zegler as Snow White and Gal Gadot as the evil queen, which has led to the remake coming under even more fire for poor casting.
“I mean look, I love Gal Gadot, I don’t think she’s the greatest actress,” Matthew Marsden tells Sara Gonzales and Jaco Booyens on “Sara Gonzales Unfiltered.” “But why do you pick somebody who is quite clearly more beautiful than Snow White to play the queen?”
But it’s not just the casting that the panel sees as a flop.
“They have dried up with any creativity,” Booyens says.
“That’s true,” Gonzales adds, “That’s like all they’re doing now is coming out with live actions of others like ‘The Lion King.’”
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Rosie O'Donnell moves to Ireland to spite Trump; claims America has no 'equal rights'
When Donald Trump secured the presidency in 2016, Hollywood celebrities vowed to leave the country — but very few, if any — kept their promise.
This time, they’re finally making good on it.
“I’m here in Ireland, and it’s beautiful and warm. Not physically, it’s actually quite cold. I moved here on January 15, and it’s been pretty wonderful, I have to say. The people are so loving, and so kind, so welcoming, and I’m very grateful,” actress Rosie O’Donnell said in a selfie video posted to social media.
“I’m in the process of getting my Irish citizenship, as I have Irish grandparents. I was never someone who thought I would move to another country. That’s what I decided would be the best for myself and my 12-year-old child,” she continued, before getting political.
“I miss so many things about life there at home, and when you know, it is safe for all citizens to have equal rights there in America, that’s when we will consider coming back,” she concluded.
While Sara Gonzales of “Sara Gonzales Unfiltered” could care less that O’Donnell has fled the country, she does wonder what “equal rights” O’Donnell feels she has lost.
“What rights do you not have? I wish they would just name one. You always hear that talking point, but I haven’t heard what the right is that you’re saying that you don’t have. That never comes after that,” Gonzales says.
“The right to have totalitarian control,” Dallas County GOP Chairman Lt. Col. Allen West says, joking, but serious.
“That has to be it,” Gonzales agrees. “I’m so sorry that Donald Trump is cleaning up the streets, arresting violent criminals, and deporting violent criminals.”
“Did you see that inflation graph from today on CNN, Rosie? That’s going way down. Yeah, it’s terrible that he’s like eliminating fraud and corruption from the government, saving Americans tax dollars,” she continues.
While O’Donnell seems thrilled with her decision, her move was put on blast — and even laughed at by Ireland’s prime minister.
“Ireland is known for very happy, fun-loving people, great attitude, many in this room right now,” White House correspondent Brian Glenn said to the prime minister as he met with President Trump.
“Why in the world would you let Rosie O’Donnell move to Ireland if she’s going to lower your happiness levels?” Glenn asked.
“It’s true,” Trump responded, adding, “Thank you, I like that question,” as the prime minister laughed.
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