He rarely does interviews but made an exception for former Fox News host Megyn Kelly. During the interview, he described how being outspoken about his political views have cost him but that he’s not going to stop since this is still the United States of America… for now.

Others who work in Hollywood often come to him secretly and tell him things such as they’re considering voting for Donald Trump. But those who haven’t established themselves cannot be as open as Woods, Jon Voight, or the handful of well-known actors who made their mark before being a conservative meant being blacklisted.

He discussed how his role as Executive Producer for Oppenheimer was downplayed because they didn’t want Academy Awards voters, the vast majority of whom are radical leftists, to ding the movie because of his involvement.

“When Oppenheimer came out, there was a discussion about my Twitter, and it was gently suggested that I basically remain invisible, which was painful,” he said. “On the other hand, I’m a pragmatic person and I thought, a lot of people put their effort into this, so I’m just going to be an invisible pariah … I stepped back and basically took one for the team.”

But there’s good news that came from being involved in the award-winning movie. He has at least two projects coming as part of his “second act,” including an upcoming project with Oliver Stone.

As has always been the case, Woods didn’t hold back. He has always spoke his mind and is not averse to being controversial even when being playful.

“I can’t believe I just asked Megyn Kelly on-air to have a threesome,” he said at one point.

Here’s the interview:

Those employees may want a black Little Mermaid, or an all-female Avengers alternative, or for Indiana Jones to be replaced by an anti-capitalist woman, but they are a very small, very whiny minority. The overwhelming majority of people, at best, couldn’t care less, or at worst, are really tired of ham-fisted woke messaging in their media. Particularly when it’s being added to beloved franchises.

Even the like-minded leftists on social media praising the added wokeness and lambasting those who speak against it don’t actually want it. It’s all for show and you can see that in the box office. Disney has been releasing flop after flop this year and it’s caused them to lose the top spot to Universal for the first time since 2015.

According to Variety:

Disney slid to second place in terms of market share as its 17 new films, “Guardians of the Galaxy Vol. 3,” “Indiana Jones and the Dial of Destiny” and “The Little Mermaid” among them, raked in $4.827 billion globally. In a note to press, the studio partially attributed the $80 million difference to the fact that Disney released seven fewer movies than Universal in 2023. It also went on to stress that Disney had the most titles of any studio in the top 10 this year, with four of the highest-grossing global releases and three of the biggest domestic releases.

Although Disney may claim their smaller roster of movies in 2023 is the cause of their dethronement, none of the movies they did release even crossed the billion-dollar mark. Keep in mind, back in 2019, they had seven movies cross the billion-dollar mark. One of those movies, Avengers: Endgame, nearly crossed the three billion-dollar mark and became the highest-grossing film of all time.

No Disney film even made it into the top three highest-grossing movies of just 2023.

But they never blamed wokeness.

Lately, they’ve at least started mentioning it in some corporate media reviews and movie postmortems. They never come out and say that wokeness is bad, but at least they’re acknowledging that many films by companies like Disney are “controversial,” and the controversy “contributed” to their box office failures.

Admittedly, this was not the trend I expected. If you asked me in March or April how corporate media would report on Hollywood’s growing list of woke bombs, I would have said they would continue to try to hide the fact and blame “bigots” on the right for not being inclusive enough to let their kids be indoctrinated by LGBT propaganda or Critical Race Theory injected into plotlines.

Is the truth becoming too blatant for even corporate media to ignore? If so, now is the time to strike. And by strike, I mean ramp up efforts to inform our friends and relatives about two things. First, we need to continue to lambast woke movies. Lightyear suffered from such warnings, not just in media but through word of mouth. Second, we may need to support movies that are not woke… if you are among those who still watch movies. I personally do not, though I will make rare exceptions for movies that are on target.

Sound of Freedom is such a movie, from what I’ve heard. We will be watching it as soon as possible.

Between proving to them that woke movies are unsuccessful while rewarding unwoke movies with success, we can actually make them change. But here’s the thing. A large part of me hopes they don’t change. The only reason I’d like to see a change at all is because I’m aware of the influence they have over many Americans. However, that may not be enough for me to hope they improve.

That large part of me that doesn’t want them to change really wants them to completely fail. Would America be better off if Hollywood learned its lesson or if Hollywood failed to oblivion? I’m leaning toward the latter. An irrelevant Hollywood is, in my humble opinion, better for America than one that reluctantly starts making better business decisions. This is why I believe we should go for the jugular and stop watching anything they put out at all. Sound of Freedom may be the last Hollywood movie I ever watch.

Even if we push them to take notice of their dwindling bank accounts, they won’t stop promoting demonic ideas. They’ll just be more subtle. Perhaps we won’t get anything overtly woke like the recent Velma debacle, but the evil in Hollywood is so pervasive that they’ll simply sink back into the shadows a bit with less obvious indoctrination messages. They’ll still squeeze “inclusivity” into kids’ shows. They’ll still dishonor American patriotism, Christians, and straight white men as much as possible. It’s baked into who they are. The only way to truly “fix” Hollywood is to put them out of business. Incremental changes won’t do the trick.

With that said, here’s an article by Tyler Durden from Zero Hedge that details their current trajectory toward irrelevance.

Woke Hollywood Sinks Into Irrelevance After Multiple Box Office Failures

The formula for box office success these days seems rather simple – Produce a solid story with relatable and likable characters, and tell that story in a setting that makes sense with as few distractions and tangents as possible.  In other words, make a normal movie without the intent to manipulate your audience with propaganda.

Most movies that follow this basic formula will rake in the cash.  Any movie that insists on browbeating the audience will bomb; get woke, go broke.  The problem is that Hollywood elitists just can’t help themselves.  They think they’re smarter than the audience and smarter than the box office, and they would rather lose their entire business and fade into obscurity than admit the truth:  The market dictates the success or failure of popular media, the media does not dictate the market.

To be fair, the media culture we live in today is far different from what it was even 10 years ago.  The entertainment industry is no longer interested in keeping the public happy or distracted, they’re only interested in “platforms.”  They see every movie and every popular franchise as a vehicle to deliver their gospel, the gospel of woke.  It is likely that they believe if they saturate the market long enough and thoroughly enough with their messaging that one day the public will just give up and accept woke as the new normal.

This isn’t happening.  There’s been a flurry of film flops in the past year which have made it obvious that Hollywood is imploding instead of gaining influence.

Disney is probably the best place to start as a window into woke failure, because the company strategically targets children with far-left concepts from feminism to gay and trans ideology.  The company was on a downward spiral well before they tried to go to war with the state of Florida, declaring that they would do everything in their power to overturn anti-child grooming laws.  But that little incident didn’t help, either.

Disney’s slate of failed films over the past year has included:

• Turning Red, a metaphorical animated film exploring female puberty and menstruation.  The movie lost  $168 million.
• Lightyear, which featured a lesbian relationship and was released right after their fight with Florida.  Disney was also accused of removing Tim Allen as the voice actor for the popular Buzz Lightyear character because of his conservative leanings.  The movie lost at least $106 million.
• Strange World, another animated children’s film featuring thinly veiled climate change propaganda as well as a prominent LGBT relationship involving teen boys.  One of the biggest flops in Disney history with a loss of $197 million.
• Peter Pan And Wendy, a live action adaptation of the classic, was offloaded quickly to Disney’s streaming service and received dismal audience reviews.  The movie boasted a race swapped Peter Pan, race swapped Tinkerbell,  gender swapped “lost boys,” and a Mary Sue-like Wendy that battles 200 pound pirates with her sword fighting skills.
• The Little Mermaid, a live action adaptation, race swapped the classic Dutch fairy tale character and changed the message of the story from a mermaid seeking the love of a prince to “she don’t need no man to save her.”  The movie lost at least $20 million.
• Indiana Jones And The Dial Of Destiny, a film which attempts to undermine and deconstruct its title character and replace him with an anti-capitalist feminist activist, has been met with thumbs down from audiences and critics that have seen it so far, along with general disdain by fans of the franchise.  It is expected to lose hundreds of millions of dollars for Disney due to its massive budget.
• Elemental, a ham-fisted commentary about racism with Disney’s first animated “non-binary” character, is crashing at theaters and is expected to lose tens of millions of dollars.  The movie also had the 2nd worst box office debut in Pixar history, a company that was once seen as a sure thing.

Disney isn’t the only leftist media company in the gutter these days, it’s merely the most notorious.  Multiple woke movie calamities have struck in the past year from the horrendous ‘Bros,’ to the vapid ‘Fauci’ documentary, to AOC’s climate change documentary which went down in flames, to Amazon’s attempt to hijack Lord of the Rings with their woke ‘Rings Of Power’ series.  The list goes on and on, with production losses in the billions for 2022-2023.

What Hollywood doesn’t seem to realize is that audiences have options and nothing is going to force people to consume leftist ideology as a recreational product; they greatly overestimated their influence.  They might as well get rid of the box office altogether and come out of the closet as the defacto propaganda wing for governments and globalists.  Then they can abandon the facade and start making their own woke versions of ‘Triumph Of The Will.’

In the meantime, it appears that the game is over.  Western consumers are beginning to realize the scale of their boycotting power and they are using it aggressively this year.  And though woke companies are doubling down and insisting that social justice, feminism and trans cultism are the wave of the future, the reality is that (for now) propaganda cannot be made without profits.  The money is running out.

Reboots, soft reboots, remakes, live action remakes, re-imagining, gender swapping, race swapping, “rainbow washing” (making classic straight characters gay for virtue signal points): This is a list of new media tropes that have invaded entertainment in the past six years and all of them have been used so frequently that productions can now be quickly identified as woke propaganda by a mere two minute trailer.

The fascinating thing is, almost all of these productions fail miserably. In recent weeks alone we have seen the attempted woke re-writing of history with The Woman King, which fell flat at the box office after opening week, not even making enough money to cover production and advertising costs.

Then there was the gay romantic comedy “Bros” which imploded, causing the lead actor, Billy Eichner, to flip out on social media and blame “homophobia” (somehow he actually believed a movie filled with gay orgies was going to appeal to mainstream audiences). Eichner went on to argue that people MUST go see his movie in order to make a “political statement.” This was the same argument made by Woman King actress Viola Davis – Don’t see the movie because it’s well made, see the movie so you can stick it to conservatives.

Why not just tell a good story instead?

We have seen the biggest budget TV series in history, Amazon’s The Rings Of Power, crumble in the ratings with its intersectional messaging. We have seen the cancellation of the gay Superman comic book title Son of Kal-El, likely due to low sales. Marvel shows and films are consistently bringing in weak audience numbers and the SJW disaster that is Disney Star Wars can’t write a hit production to save their lives.

The bottom line? Consumers have near-zero interest in leftist media. As I have said in the past, “Get Woke, Go Broke” is not just a mantra, it’s a rule these days. But why are leftists in entertainment so incapable of producing anything resembling exciting content? Why do they suck so bad?

Well, they follow a losing formula, and that formula works something like this:

1) Co-opt a classic franchise or character that has preexisting audience appeal. Never try to create anything original if you can help it.

2) Market the new film, TV series, comic, etc. as a return to nostalgia to get audiences excited.

3) Get rid of as many straight, white, or male characters as possible and replace them with token diversity. (Also for some reason they like to get rid of all the redheads).

4) Portray men as weak and incompetent. Portray white people as stupid or racist. Portray black people as constant victims. Portray women with overtly masculine character traits, but also as victims at the same time. Make everyone in charge a woman, or gay, or both. If a man is in charge, make sure he is being controlled by a woman. Make sure your main character is constantly lecturing everyone else and the audience about leftist virtues.

5) Make sure there is a perfect pie chart of ethnicity in every single scene despite the statistics and demographics of a place or time. It doesn’t matter if a story is set in an ancient viking village in the north of Europe or in the elitist estates of Victorian England, minorities must be represented as main characters despite all historical fact.

6) If a classic male character cannot be changed without alienating potential customers away from spending their money, pretend he is a major part of the story to trick people into theaters, then make him weak and pathetic, the opposite of a hero. Or, just kill him.

7) Steal plot points, story beats and even dialogue directly from other more creative films and productions. Pretend you came up with all that stuff on your own. Or, do a reboot, and copy an older production directly while adding your own woke changes wherever possible.

8) Now, market the product as a “re-imagined version” updated for “modern audiences” as a justification for abandoning all canon.

9) Immediately start attacking anyone who MIGHT criticize the product before they ever do so. Make the customers and the fans into villains if they refuse to give you their money. Accuse them of bigotry and blame your inevitable failure on racism, sexism, misogyny, etc. It wasn’t your fault that your story bombed, it is the fault of “incels” and “boomers” and all the uncultured swine out there filled with hate. They sabotaged you. They are the problem.

10) Rinse. Repeat.

Yes, it sounds pathetic but this is the state of entertainment today and it has been a pervasive problem for several years now. The industry has always had a bit of a progressive problem, but in the past this was balanced out by more conservative business interests. Today, the business interests are the same zealots as the production interests. But beyond that, liberals used to be more creative in general, now they are devoid of all imagination. Why?

My theory is that as progressives turned increasingly to the social justice cult, a wave of narcissism has suffocated any and all potential for creative freedom. Even if they had it once, it’s all gone now. Narcissists tend to have no imagination, and the woke ideology is essentially a religion for narcissists.

Social Justice is a system of belief that uses victim status as a currency. It tells its adherents that each one of them is so special and unique that the world revolves around them and their identity, that their “personal truth” is more important than objective truth. It tells them that they are entitled to respect and admiration from everyone regardless of their lack of accomplishment, lack of knowledge, lack of talent, lack of beauty, lack of intelligence, lack of experience, lack of propriety, lack of restraint, lack of kindness, etc.

These people have no class and no shame and they think this is a virtue, a strength. You are supposed to idolize them for it and if you don’t then you must be a fascist. How are leftists supposed to compose stories that hold our attention and touch our souls when they are so self absorbed?

Storytelling requires several things in order to be successful, and they are all things that leftists have no concept of. They include:

1) The ability to self reflect, but also the ability to write characters outside of yourself. If you have to see yourself in every single character in a story and if every story has to amplify your personal ideology, then you are a narcissist and you should abandon your dreams of writing NOW.

2) You need an inherent sense of story flow. Some people are naturally good at playing music. Good storytelling is a lot like music in the way plot points and emotions ebb and flow. Either you have the knack, or you don’t. It’s not something that can be learned.

3) You cannot tell a story with the intent to lie and propagandize. It is selfish and disrupts narrative flow. Even if the basic premise is good, the content will feel false and sometimes dated to audiences. People can sense when they are being lied to, or preached at. They might not know it at the time, but they will not return to your stories in the future. Their intuition will tell them not to.

4) Stories are usually built on basic archetypes – Archetypes are inherent psychological constructs that help human beings relate to each other and also help us relate to foundational morals and principles. Archetypes exist across cultures and across geopolitical boundaries. If we didn’t have these constructs in our heads from birth, we would have destroyed ourselves thousands of years ago. You cannot change archetypes. They are eternal. Try to change them or deconstruct them and you will fail.

5) Subverting expectations is lazy and cowardly. Truly talented storytellers can meet audience expectations while still surprising them along the way.

6) You are not entitled to an audience. The audience owes you nothing. Either your story is good and they relate to it on an emotional level, or your story is garbage and they don’t relate to it. It’s as simple as that. People are not required to consume your product to make a “political statement.” And they are not evil for refusing to spend their money on propaganda. If you enter into storytelling with the intent to create conflict with your audience, then you are probably a bad storyteller.

Media and entertainment are the modern method of passing on ideas and exploring debates within our culture, and when only one extreme viewpoint is represented within our story lexicon this creates chaos and imbalance in society. The woke movement has utterly poisoned our cultural well and it is incapable of addressing the basic functions of reflection. We cannot look at ourselves honestly through stories when liars and narcissists are in change of the storytelling apparatus.

I am working in my own small way to bring back the tradition of popular American storytelling with my graphic novel campaign ‘Mountain Hollow.’ I don’t have a multi-billion dollar company behind me, but I guarantee I can write circles around any leftist in entertainment today. And this is what we need more of right now – Clearly, woke media does not sell and does not represent the vast majority of the public, so, we must make media that DOES. It’s not enough to complain about the problem, we have to actually do something about it in order for things to change.

Nothing pisses off leftists more than when you offer the public an alternative to their narrative.

Article cross-posted from Alt-Market.

Shortly after the FBI raid on Mar-a-Lago, Gray dropped this song. As he points out, there’s a double standard in our two-tier justice system. Why have the Clintons never been raided?

https://twitter.com/RealBrysonGray/status/1557441496307142665

The entertainment industry may be rife with “woke” radical leftists, but at least that helps to highlight strong talents like Bryson Gray and a handful of other entertainers who don’t hate this nation.