Tag: Movies

Sacha Baron Cohen should have been a free speech warrior.

After all, the British actor broke out after “Borat,” the 2006 comedy that pushed the boundaries of humor, class and good taste.

That gave Cohen a rare position in Hollywood, a newly minted comedy outlaw. What would he do with his well-earned status?

Turns out he went from subversive to obedient. 

How? 

He turned his iconic Borat character into an anti-Trump cudgel. “Borat Subsequent Moviefilm” was a sorry sequel that existed for one reason.

To bring down Trump. 

Later, he cheered when social media platforms canceled the world leader. Some free speech warrior. He was just like other liberal stars, looking the other way as speech got crushed.

Now, Cohen is leaning into his progressive side anew with “Ladies First.”

RELATED: SACHA BARON COHEN SEXUALIZES FLOTUS

The new Netflix comedy, released with little fanfare last week, finds him playing a chauvinist who bonks his head and wakes up in a world where women rule.

Down with the Patriarchy! Up with the Matriarchy!

That gimmick feels like a 2020 fever dream, born from the BLM protests era and Hollywood’s woke revolution.

Except this is 2026, and woke isn’t in fashion. Even liberal film critics aren’t always eager to grade woke content on a curve. They may have done just that with the execrable “Starfleet Academy,” but they did no such thing for Cohen’s new film.

“Ladies First” currently has an 18 percent “rotten” rating at RottenTomatoes.com. The reviews are unsparing.

The left-Leaning Guardian gives “Ladies First” one out of five stars:

…for a film so unashamedly silly, it’s also incredibly, tiresomely un-fun and, by the end, laughably earnest, as if we should all be learning a very important lesson.

The Financial Times’ take is downright cruel.

Sacha Baron Cohen is knocked unconscious early in Netflix comedy Ladies First, a film that only sometimes makes you wish the same for yourself.

Even the reviews that side with the film’s premise aren’t happy with the results.

It makes some valid points, then proceeds to beat them to death.

Most film critics are unabashedly liberal. That’s just science. And, more often than not, they pull their punches on progressive or “woke” content.

Even liberal critic Richard Roeper said as much regarding the reception for 2016’s “Ghostbusters” reboot.

“Ladies First” is either so lousy that liberal critics couldn’t give the film a pass, or they understand the woke era was a massive mistake, one that’s best left in the dustbin of history.

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The Force may be strong, but it could be taken down by an indie horror film this weekend.

“Backrooms,” an A24 release, has no A-list stars nor an IP connection. Box office soothsayers still predict it could snag up to $33 million this weekend. Others say the film’s pre-release sales match “Scream 7,” which debuted with $64 million.

And, if “The Mandalorian and Grogu” stumbles badly at the box office, that puts this indie thriller in striking distance.

How is this possible?

The better question may be, how could a micro-indie like “Obsession” grow nearly 40 percent from its opening weekend? Director Curry Barker’s big-screen debut did just that days ago, a stunning development in La La Land.

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“Obsession” also lacks A-list stars and IP ties. Word of mouth did the trick, and the film could become one of the most profitable titles of all time.

You can’t pin these numbers on Halloween, a season when horror movies often thrive. Nor can we blame any radical marketing schemes, like the one that catapulted 1999’s “The Blair Witch Project” into the stratosphere.

These are well crafted indie horror films drawing big crowds.

But why?

RELATED: INDIE HORROR GETS SATIRIZED WITH ‘FOUND FOOTAGE’ ROMP

Wouldn’t Hollywood like to know? The return on investment here is through the roof, something that can’t be said of films like “The Mandalorian and Grogu.” The Disney title will have to keep earning over the next month to make back its sizable investment.

That’s typically how Hollywood rolls in the 21st century. It’s blockbuster or bust.

Horror films offer a smart alternative. Even more traditional shockers, like “Scream 7” ($121 million US) and “Send Help” ($64 million US) performed well earlier this year.

Let’s throw some theories out as to why indie horror is suddenly all the rage.

First, horror remains a perfect vehicle for escapism. The genre offers less intellectual rigor and more “fight-or-flight” style storytelling. That never goes out of vogue.

We’re also living in a deeply divided age, where social media makes it feel like a new civil war is just around the corner. It isn’t, but that sense of anger and isolation makes a horror movie a fine antidote to modern times.

This critic can relate.

Around 2020, I faced a dual threat unlike any I’ve experienced before. My wife was undergoing cancer treatment, and the government had locked down society to “stop the spread” of COVID-19.

As a movie critic, I generally gravitate to serious, sober films. Oscar-bait movies matter deeply to me. Except now I wanted little to do with them.

I craved escapism, the kind of emotions that only genre films could offer. It explains why my favorite film that year was “Alone,” a taut, terrific thriller that likely didn’t make it onto any other critic’s Top 10 list.

Let alone the top spot.

Plus, we’re lucky enough to have several storytellers who luxuriate in the horror genre sans apology. In the past, young filmmakers may cut their teeth in the genre before moving on to more “serious” storytelling.

Think Peter Jackson, James Cameron and Francis Ford Coppola.

Today, directors like Osgood Perkins (“Longlegs”), Zach Creggers (“Weapons”), Jordan Peele (“Get Out,” “Us”) and now Curry Barker unabashedly embrace the genre.

This may collectively explain why horror is crushing the box office. 

Why do YOU think horror movies are exploding in theaters now?

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Late-night TV has never been this dark or angry.

We saw it with the just-canceled “Late Show,” where host Stephen Colbert raged against President Donald Trump with a mix of Fake News and DNC talking points.

“Saturday Night Live” peddles assassination gags to its cheering throng.

“Jimmy Kimmel Live!” saw its host holding up a T-shirt that read, “Donald Trump Is Going to Kill You.” That same show yukked it up over violent attacks on Tesla dealerships and staffers crushing on alleged murderers.

Late-night veteran Jon Stewart looked aghast when his audience booed the arrest of suspected killer Luigi Mangione.

Dark. Angry. Ugly.

Irresponsible.

Now, a regular host on “The Daily Show” is joining the melee. And what he said on a separate program might be the worst of all.

RELATED: HATE NIGHT TV LAUGHS OVER TRUMP’S CANCELLATION

Host Josh Johnson weighed in on both threats against President Trump and the nation’s healthcare system on the “Talk Easy with Sam Fragoso” podcast.

The two don’t seem to go together, but Johnson forced the issue during the ghoulish chat.

How?

The far-Left comic attempted to rationalize why anyone would pick up arms to eliminate Trump. We’ve already seen three attempts to do just that.

RELATED: LATE NIGHT HACKS ON LA RIOTS: ‘RIOTS? WHAT RIOTS?

Even worse?

The interview debuted after yet another gunman stalked the White House. This time, the man in question sprayed the property with bullets before Secret Service agents took him down.

For Johnson, the ends may justify the means.

“I think that there has been a co-opting of non-violence to the point of almost being a psyop,” Johnson said. “You can only take away so much from a person before they have no options left, other than to scream in the street — sort of riot or something like that … Or before they pinpoint certain individuals that they see as the perpetrators of all these crimes against making a way of life.”

How else can one read those words than a justification of violence or, at the very least, violent protests?

Johnson wasn’t done.

“You shouldn’t have to earn the right to live … When people, of no fault of their own, get sick and they can’t afford whatever this astronomical bill is, and then they get on the hook for this bill for their care…”

“But then the insurance company is over here side-stepping them left and right, putting them on hold for three days or putting them in a circle of reasoning around paperwork until they die anyway, it’s like, that’s not considered violence by us.”

Those comments ignore a massive elephant in the room. The current health care mess we’re in is based, in large part, on ObamaCare, President Barack Obama’s “signature” achievement.

Prices have soared since the Democrats pushed that legislation over the finish line without a single GOP vote but plenty of gaslighting. Remember, “If you like your health plan, you can keep it?” 

AKA the PolitiFact Lie of the Year.

Now, Johnson didn’t share these views from “The Daily Show” pulpit. It’s still a chilling perspective for any mainstream media comedian to share.

Will he expound upon those views from his Comedy Central perch? Or will the cable channel realize those kinds of comments are deeply irresponsible, at best?

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The most consequential battle of World War II almost got rained out.

That stunning truth powers “Pressure,” a D-Day film from an angle sure to catch most movie goers flat-footed. The drama zeroes in on three key figures in the runup to the Normandy invasion, plus a fourth whose quiet strength brought balance to their struggles..

The result? One of the year’s most invigorating stories showcasing a side of the war many never knew.

That’s why historical dramas matter, right?

Andrew Scott stars as James Stagg, a meteorologist hired by the Allies to strike a decisive blow against the Nazi regime. How? Stagg must predict if the weather in France will be conducive to an invasion meant to recapture the country and strike a blow against Hitler’s minions.

We’re used to glancing at an app to sense what the next few days will bring, weather-wise. And, more or less, the predictions are on target.

Mostly, to quote Newt from “Aliens.”

Meteorology was far less sophisticated in 1944, turning the science into a near-guessing game based on less definable data.

The Allied forces’ resident expert, Irving Krick (Chris Messina), thinks the weather will be just good enough to launch the invasion on June 5. Full steam ahead!

Stagg disagrees, giving General Dwight Eisenhower (Brendan Fraser) the mother of all decisions.

Yes, a major World War II drama finds its heroes poring over maps, releasing weather balloons and arguing over storm comps. It’s hardly the stuff of high drama, at least at first blush, but director Anthony Maras (“Hotel Mumbai”) keeps the focus on the high stakes poker game that could give Team Hitler the war.

Scott’s Stagg is a curiosity, a soft-spoken soul with zero room for imperfections. He throws his weight around when he first joins the mission, demanding fealty to the task at hand. No joviality on his watch.

Every second counts.

The only one bold enough to stand up to him is his commanding officer.

Fraser’s Ike wants to believe Krick. He’s never let the U.S. Military down before, and his sunny prediction is exactly what the Allies need. Desperately.

Stagg won’t be shaken, not by Ike’s commanding presence nor a very real tragedy that lands mid-movie.

It’s all about duty, honor, sacrifice and personal responsibility. That isn’t just a tribute to the World War II generation but a gentle rebuke to modern society.

No victims or blame games. The buck stops with every consequential character on screen.

Few filmmakers would dare out-Spielberg “Saving Private Ryan,” featuring the most grueling war sequence in Hollywood history. “Pressure” evokes that meat grinder of an invasion in ways that flatter what “Pressure” explores.

You can’t have a battle royale over weather forecasting without a glimpse of the battle in question. We need to see some of what that invasion entailed, even if the sequences are shorter and less ghastly to witness.

World War II films can easily let female characters get overshadowed. Not Kerry Condon, cast as Ike’s assistant. She’s the film’s maternal presence, nurturing the squabbling men as needed and nudging them to deliver their best.

She’s nestled expertly into the story without feeling like an afterthought or GirlBoss addendum. The actress’s natural ability to underplay her characters suits the period and material.

That said, it takes a few scenes to process Fraser as Ike. Not only was the future president much smaller than the towering “Mummy” alum, but we’re not used to seeing the actor this way.

Yes, “The Whale” offered the ultimate physical makeover, but his Ike identity remains hard to initially digest. The Oscar winner focuses on Ike’s ability to lead and not let ego win the day, and that pose is more than enough for “Pressure.”

The rest is, well, history, one that “Pressure” captures with elan.

HiT or Miss: “Pressure” can’t replace “Saving Private Ryan” as the ultimate D Day film. Instead, it’s a vital companion piece putting the emphasis on duty, honor and sacrifice.

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Adam Carolla is no Howard Stern.

The flailing King of All Media once stood tall for free speech – mostly, in retrospect, when it involved his FCC battles.

Now, Stern is mostly silent on woke gone wild, Cancel Culture the recent progressive attempts to silence speech. How many conservatives have been attacked or shouted down on college campuses in recent years?

Too many. And Carolla even made a movie about it.

Carolla never stops standing up for his fellow comics’ right to say the jokes they want to share. He’s repeatedly defended former “Man Show” partner Jimmy Kimmel over his more notorious gags.

Now, Carolla is coming to the defense of Shane Gillis and Tony Hinchcliffe. The rebel comics are under fire from the far-Left for telling tasteless jokes at Netflix’s “The Roast of Kevin Hart.”

Roasts invite the most outrageous, offensive gags possible. No rules. None.

That was the case until the woke era took over. Now, as woke fades, roasts are back in vogue.

Tell that to Chelsea Handler. She literally took part in the Hart roast and complained about it later. She slammed Gillis and Hinchcliffe for gags involving race, lynchings and George Floyd. She also made it personal, slamming them as racist, bigoted and sexist.

Gillis responded sarcastically, wishing her well while promoting her woke bona fides.

Followng Chelsea Handler’s claims that Shane Gillis is racist… Comedian Gillis has released a statement, finally… pic.twitter.com/KnK9NBliGP

— Craig Duncan / @fludded (@Fludded) May 21, 2026

Hinchcliffe repeatedly slammed Handler from his “Kill Tony” pulpit, which invites comedians from all backgrounds to share his stage.

Tony Hinchcliffe hurls vulgar expletive at Chelsea Handler after she blasts his ‘racist’ roast jokes https://t.co/WhGjIpy1IP pic.twitter.com/oB1mHXdgPZ

— New York Post (@nypost) May 26, 2026

Now, it’s Carolla’s turn.

“Chelsea Handler is such a piece of s***,” Carolla said on his signature podcast about the “controversy.”

“No one cares what you find to be funny. It’s a Kevin Hart roast. The audience was laughing their ass off, so they find it to be funny. We’re not there so Her Highness can be pleased by jokes. It’s not your roast. It’s Kevin Hart’s. 

The podcaster also questioned her liberal bona fides.

“First, stop saying ‘white white white.’ You’re a blond. You’re the whitest of them all, and you’re skating by on your blond hair,” he said. “Just shut up, tell the jokes or don’t.”

Carolla extended his attack to her comments regarding L.A. Mayoral hopeful Spencer Pratt. Rather than attack his policies, Handler played the white male card against him.

“He’s white. He’s male. He’s heterosexual … who’s the racist here?” Carolla asked.

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It’s easy to find flaws in “Backrooms,” the directorial debut of YouTube-trained Kane Parsons.

It’s better to imagine what this 20-year-old wunderkind might do next. If he makes more movies as inventive, creepy and fresh as “Backrooms,” horror fans will be more than satisfied.

They’ll be ecstatic.

The film bears a strong arthouse vibe, one suggesting a seasoned soul behind the camera. Parsons age is what it is, but what we see on screen is something consequential. This director understands why minor details matter, sometimes even more than the major set pieces.

It’s why this small but probing story will stick with you for some time.

Chiwetel Ejiofor stars as Clark, a furniture store owner with a rage that bubbles just beneath the surface. He’s in therapy to process his failed marriage, and his therapist Dr. Mary Kline (Renate Reinsve), suggests a role -playing exercise that proves … revealing.

It doesn’t take much digging to let Clark’s fury surface, but he’s soon more preoccupied with something else.

RELATED: HORROR IS HAVING A MOMENT … BUT WHY?

His furniture warehouse or, at the very least, its substandard electrical system, is driving him to drink. Clark discovers something else within the building, a wall that allows him to glide into a separate series of rooms as if an invisible door beckoned him.

To say more would spoil what follows. Just know it may not make sense, but the film’s sense of narrative disruption is never less than pristine.

“Backrooms” is shrewd enough to add both texture and storytelling tics to make this world feel real yet wobbly. We’re also privy to smaller character tells that ground the experience.

Parsons and screenwriter Will Soodik uncork a silly TV commercial where Clark yuks it up as a wily pirate pushing his furniture shop. It’s funny by itself, but its placement in the story proves less than random.

That sturdy approach exists throughout the film, even if we rightly fear the disparate dots won’t be connected to our satisfaction. Better to let the film’s creep factor wash over you, inch by inch, while the threat level quietly spikes.

Clear that armrest space. You’ll be gripping it shortly.

The ensuing scares are remarkable and raw, resembling nothing we’ve seen before. The movie’s “found footage” elements are another story, as is a prelude that isn’t as effective as needed.

What should have started “Backrooms” with a bang reminds us why found footage went the way of 3D films and pagers.

Visually, the film didn’t break anyone’s bank, but the resources marshalled to tell this tale are never flimsy or distracting. This is a world of consequence, a bleak landscape brimming with muted colors, discarded furniture and the impression that the creators aren’t too keen on talk therapy.

Or is something else at play? Just know Parsons co-created the eerie soundtrack, another way “Backrooms” burrows into the genre.

Some subplots never explain themselves, and a bit part by indie darling Mark Duplass feels unfinished, albeit undeniably disturbing.

Then again, so is everything else in Parsons’ funhouse mirror of a movie.

HiT or Miss: “Backrooms” will strike some as maddening, but few will deny its ability to demand our attention … and keep it.

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Writer/director David Roher’s “Tuner” is the very definition of a sleeper, a phrase that, in my childhood, I initially believed to be a movie that put you to sleep.

The phrase actually means an unexpected success, which can apply to the film’s quality, a surprisingly robust box office or both. “Ghost” (1990) and “Good Will Hunting” (1997) are obvious, noted examples of this.

As of press time, I have no idea if the buzz I encountered at the “Tuner” preview screening will translate to strong word of mouth.

Leo Woodall stars as Niki, an expert piano tuner who works for his uncle, the noted Harry Horowitz (Dustin Hoffman), who has been in the business far too long. Nevertheless, while the worn-out Harry drags his way through assignments, Leo’s expert hearing makes him the best piano tuner in the business.

When Niki encounters Ruthie (Havana Rose Liu), a gifted pianist, he is initially off putting and distancing, his usual way with those he distrusts, but Ruthie draws him in. Just when things seem to be finally turning around for Leo, a random encounter forces him to consider something else about his talent: his uncanny hearing and ability with pitch.

That also makes him a safe cracker, who can hear the exact moment the combination of a safe is cracked open.

Both Woodall and Liu give dynamic turns, playing characters who are not idealized or flawless. Both draw us in as thoroughly as the actors do and, in a refreshing touch, Niki and Ruthie are frustrating and real.

“Tuner” has the snap of a Steven Soderbergh crime caper, minus the pretension. Roher somehow manages to mirror the perfect pitch of his protagonist, as this tonally balances a love story, a slice of life drama, crime story and an unorthodox musical journey.

Hoffman doesn’t give a glorified cameo – he adds greatly to the proceedings in a textured supporting role (the character isn’t Willy Loman, but there is something tragic about Harry’s role in his life).

There is a visible bobblehead of Harry that he keeps in his van that says so much about him – he was once famous enough to merit a bobblehead, but the plastic visage of his face suggests this was a long time ago and when he was far younger.

Hoffman is wonderful, but the film belongs to Woodall and Liu.

The villains are amusing at best, cartoonish at worst. Thankfully, while the crime subplot takes focus, the film itself doesn’t become some forced action movie and finds unpredictable ways to develop that part of the narrative.

It’s similar to how Jean Reno’s character enters the film late and becomes a pivotal figure in both Niki and Ruthie’s lives.

Roher leans into the sound design to convey what the world sounds like to Niki, cleverly creating a soundscape for each sequence. “Tuner” isn’t a violent film, but the scenes where Niki experiences pain in the form of loud sounds are hard to watch.

There’s a moment at the midpoint where Ruthie plays piano for Niki, who sits next to her and watches her, one of the most blissfully romantic scenes I can think of.

“Tuner” has at least one ending too many, but the final scene is golden. I would have liked just a little more of an epilogue, but the film ends, literally and figuratively, on the perfect note.

Three and a half stars (out of four)

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Wrier/director James Lucas’ “Moss & Freud” is a portrait of the professional collaboration and friendship between supermodel Kate Moss (Ellie Bamber) and artist Lucien Freud (Derek Jacobi), whose 2002 painted portrait of Moss were noteworthy.

At least, that’s what the film is telling us.

This has been presented as “Based on a True Story.” I don’t mean to be a cynic, but a major problem I had with this film is that it shares the view that this artistic teaming was the groundbreaking synergy that the filmmaker suggests.

Despite the strong work of the actors, the film left me underwhelmed.

Moss (well played by Bamber, despite having no resemblance to the real Moss) is presented as a wild card who was paired with Freud, who matches her boldness in his approach to painting her in the nude. Jacobi, at 87, plays Freud with expected grace and skill.

It’s always a treat to see him work, whether on stage or in film.

In addition to questioning how earth shaking the Moss/Freud collaboration proved to be overall, there’s also the line where someone notes about Moss, “You are Greta Garbo and Bridgette Bardot.” I’m not arguing that Moss is beautiful, famous and a trendsetter, but in this particular age of supermodels, the runway belonged to Cindy Crawford, Tyra Banks and Claudia Schiffer, period.

Lucas gives this a glossy hardness, making the film come across as tough as Moss was, a good touch. Likewise, the soundtrack has solid tunes that aren’t overused needle drops that take us out of the story.

At one point, Moss goes to an S+M club, which should have a greater impact on the narrative or, at the very least, provide a shocking interlude. As is, it’s a scene that adds surprisingly little. The film lives and breathes by the scenes of Bamber and Jacobi playing Moss and Freud in his studio.

The dialogue is mostly stilted and doesn’t pull you in like it should, even as Freud is exclaiming that this is “the process of creation!”

Despite the spirited performances, nothing here, not the dialogue, performances or storytelling approach, are anywhere on the level with Steven Soderbergh’s “The Christophers.” Despite lots of nudity and the solid work of the actors, there’s little passion in “Moss and Freud.”

Soderbergh’s film is a master class on this subject, whereas this is the lesser of the two.

Moss was certainly ubiquitous in the latter half of the 20th century but if you’re going to capture an artistic and cultural lightning rod of this era, make it a film about the time Cindy Crawford made that Pepsi commercial.

Two Stars (out of four)

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Jimmy Kimmel honored longtime friend Adam Carolla this week, telling the world that their political differences mean nothing in the big picture.

That matters. And, sadly, it’s increasingly rare in our culture.

Good on Jimmy! (And, of course, he teared up in the process)

Jimmy Kimmel shares hilarious stories and gets emotional during Adam Carolla’s Hollywood Walk of Fame ceremony:

“Adam and I, as you probably know, don’t agree much when it comes to politics, but I love him dearly. I have never worked with anyone funnier.” pic.twitter.com/JYtmpKiRHe

— Variety (@Variety) May 27, 2026

Kimmel then went out and used his broadcast TV pulpit to slam the man trying to bring sanity back to the City of Angels – Spencer Pratt.

“Jimmy Kimmel Live!” became the first late-night show to take on the upstart candidate head on. It’s surprising that Kimmel and co. have mostly held their fire up until this point.

RELATED: THE FREE SPEECH FIGHT KIMMEL IGNORED

Pratt isn’t a traditional Republican. Nor does he mention ideology when promoting his efforts to replace L.A. Mayor Karen Bass. He still seeks to upend California’s Democratic dominance, and that’s a bridge too far for a progressive activist like Kimmel.

“Then you get a guy who is on a reality show, who’s on a lot of reality shows. His profession is to be the screaming jerk on reality shows, and his house burns down, and even though he had no private insurance on his house and doesn’t believe in climate change, he is understandably upset about his house burning down.”

What does his belief, or lack thereof, in climate change have to do with anything? Climate change didn’t start the fire.

This guy allegedly did.

“And since he’s a moderately famous person, he gets attention. He’s on the news, he’s on social media, and for the first time in his life, people are agreeing with what he has to say. It’s hard not to agree with what he has to say. He’s angry about the same problems a lot of people here are angry about.”

RELATED: JOHNNY CARSON WARNED US ABOUT JIMMY KIMMEL

OK. So did Mr. Truth to Power say anything about why Pratt is angry, or how local politicians let Angelenos down?

The answer would be, “no.”

“Does he have solutions to those problems? No. But at least he’s acknowledging that they are problems. So, then this angry reality show star, who grew up wealthy and popular and is not very wealthy or popular anymore, really starts to enjoy the attention. He starts to think, ‘You know, I should be mayor.’ Which is a statement that should make everyone laugh. But not everyone is laughing.”

It’s all misdirection and personal attacks. 

There’s a simple way to clear things up. Invite Pratt on your program. Except Kimmel would never do that. He doesn’t air opposing views, let alone engage in fair debate.

Why? He’d be creamed if he did. And, mid-creaming, his audience would say, “hey, Kimmel’s guest has a point.” And Kimmel doesn’t play that way.

Will other talk show hosts follow Kimmel’s lead? Likely.

“The Tonight Show” may hold off, for now. Host Jimmy Fallon is the least partisan liberal on late-night TV, and he may not see a benefit to defending an indefensible politician like Bass.

Expect Seth Meyers, John Oliver and “The Daily Show” to attack Pratt sooner rather than later.

Jon Stewart recently mocked Pratt from a stand-up comedy stage, but he did so without his “Daily Show” team. 

“One fire, one mudslide and you’re like, OK, just let the guy from ‘The Hills’ take over.”

Stewart may have given his late-night peers permission with that remark. Kimmel just took the bait.

Meanwhile, the same late-night hosts let Bass and co. off the hook for more than a year. They ignored her staying in Ghana when the California wildfires broke out and looked the other way as she allegedly downplayed a damning post-action report on the deadly blaze.

Kimmel might even cry, again, should Pratt stun the state and become L.A.’s next mayor. If so, he might want to ask someone, perhaps Carolla himself, why the results surprised him.

He might get closer to the truth than he’s been in some time.

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Bruce Springsteen has built an entire tour around one topic.

President Donald Trump.

The Boss is traveling the country to lecture fans on his far-left politics. He insists the president is leading America to ruin, and if you buy his “No Kings” merch it could save the country.

Sadly, he sometimes needs a teleprompter to remind him exactly why he’s so angry.

Bruce Springsteen needed a teleprompter to give him his NPC talking points to attack Elon Musk and Donald Trump in Boston tonight. pic.twitter.com/IhPbGPwI48

— ALX (@alx) May 25, 2026

It’s Springsteen’s right, of course. America allows him to say whatever he’d like to share about the current political scene.

What a country!

Except the music industry doesn’t like free speech, assuming it’s speech that doesn’t align with its collective worldview. Neither does the Modern Left. Both will do whatever it takes to make sure the other side of the political argument isn’t heard.

We’re seeing this in real time. And, to no one’s surprise, Springsteen hasn’t spared a syllable about the problem. Nor will he.

The Great American State Fair, slated to run from June 25 to July 10, promised music from Martina McBride, Young MC, C+C Music Factory, Vanilla Ice, Milli Vanilli, The Commodores, Morris Day & The Time, Flo Rida, Bret Michaels.

JUST ANNOUNCED: The lineup for The Great American State Fair is here — and it’s bringing the hits.

Martina McBride, Young MC, C+C Music Factory, Vanilla Ice, Milli Vanilli, The Commodores, Morris Day & The Time, Flo Rida, Bret Michaels …and many more.

16 days. 56 states… pic.twitter.com/DJdypWJl3P

— Freedom 250 (@Freedom250) May 27, 2026

The gala promised a grand day of music on the National Mall July 4.

Yet some of the artists teased to appear quickly backtracked once the list went public.

Editor’s Note: It’s a brutal time to be an independent journalist, but it’s never been more necessary given the sorry state of the corporate press. If you’re enjoying Hollywood in Toto, I hope you’ll consider leaving a coin (or two) in our Tip Jar.

A few claimed the event was too political and divisive, citing vague statements to allegedly back up the claim. Others, like Bret Michaels, said violent threats made them quit the tour.

“Concerns have also been raised regarding the safety of my fans, band, crew, family and myself, including threats that are completely unfounded and unforgivable.”

The right never bullied a performer for performing at the White House. This kind of ideological intimidation is almost exclusively a feature of the modern left.

What a cowardly choice to bow to the mob rather than proudly celebrate our great country on its 250th anniversary. https://t.co/iUjh5yzfzo

— Meaghan Mobbs (@mobbs_mentality) May 29, 2026

Bret Michaels is the fifth artist to pull out of the Trump-backed “Freedom 250” concerts in D.C.

“Unfortunately, what was presented to us as a celebration of our country has evolved into something much more divisive than what I agreed to be a part of. Concerns have also been…

— Variety (@Variety) May 29, 2026

Look past the prepared statements.

This is a pro-America tour designed to honor the country’s 250th birthday. The team behind the event insists it has no formal connection to the Trump White House and isn’t political.

Freedom 250, the nonprofit organizing a bevy of nationwide events to commemorate the U.S. semi-quincentennial, has maintained that the state fair is not affiliated with the White House despite the blowback.

“Freedom 250 is focused on our signature celebrations and events that honor our history and engage all Americans — welcoming all who share our goal of commemorating this milestone in a way that uplifts and unites America,” spokesperson Rachel Reisner told The Hill in a statement.

That’s not 100 percent true. President Trump fueled Freedom 250’s creation to honor the nation’s milestone birthday. A quick glimpse at the group’s web site shows uplifting messaging, tributes to the nation’s founding and other pro-America content.

Is that MAGA, or just patriotism 101?

For the Left, patriotism is coded Right. And anything that could be construed as pro Trump, facts be darned, is beyond the pale.

What if the event did tie back to President Trump, even directly? Would it be a problem if President Barack Obama assembled a concert lineup to honor the nation’s birth?

Would a single artist back out, citing its “divisive” nature or possible security threats?

Of course not. It would never be framed as divisive, and the Right doesn’t do violent threats quite like the modern Left.

Why can’t a sitting U.S. president honor the nation’s birthday? He’s the president of all of us, even if many voted for the other party.

The music industry is decidedly Leftist, a groupthink that’s undeniable. Count the number of artists who raged against Israel over the last two-plus years versus those who spoke out about the ghastly Oct. 7 terror attacks against Israel.

It’s not even close.

Or, consider how most Grammy awards ceremonies hawk DNC talking points and rarely, if ever, support right-leaning causes.

Today, a singer like Springsteen can weaponize his tour to promote Democrats. Yet if M.I.A. shares right-leaning views from a concert stage, she’s sacked in short order.

Hollywood has been discriminating against conservative actors for years. The evidence is everywhere, and no A-list star will dare speak out against it.

It seems that ideological blacklist extends to the music industry. And it’s far, far worse.

UPDATE: Springsteen, Dave Matthew Band, The Foo Fighters and more just announced a new anti-Trump concert timed to the midterm elections.

You won’t see violent threats meant to stop the gala. Nor will the media ask tough but fair questions to the performers about their far-Left views.

The show will go on, as planned, and that’s good. If only it worked in reverse.

READERS: What artists should join the Freedom 250 gala? Which current superstars represent the country, its fighting spirit and sense of independence?

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