Tag: Movies

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Adam Carolla Curses Out Woke Chelsea Handler

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.

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

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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‘Backrooms’ A Bold, Eerie Horror Debut Worth the Hype

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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‘Tuner’: A Smart Crime Romance with Perfect Pitch

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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Supermodel Meets Artistic Genius in Underwhelming ‘Moss & Freud’

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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Is Kimmel’s Pratt Assault Start of New Late-Night War?

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)

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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Is Music Industry’s Blacklist Worst than Hollywood’s Version?

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.

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.

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.”

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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‘Breadwinner’ Broadsided by YouTube Horror Sleepers

Nate Bargatze can do no wrong on a comedy stage.

The squeaky-clean comic sells out arenas with impunity. He’s the top-selling stand-up in the country, and it isn’t close. So, naturally, a Hollywood studio gave him a PG-rated comedy to call his own.

Enter “The Breadwinner.”

The Sony release casts Bargazte in an oh, so familiar role. He’s a put-upon Dad forced to play Mr. Mom when his wife (Mandy Moore) snags a huge deal on “Shark Tank.”

Laundry? School pick-ups? Cooking? Uh, oh.

It’s a perfect vehicle for Bargatze, on paper, but so far movie goers are opting for something different. The film is looking at a $7-8 million opening, a far cry from the numbers some expected given his outsized fame.

It doesn’t help that the box office competition is nasty at the moment.

Not only must “The Breadwinner” battle the newest “Star Wars” film, but it’s up against two indie horror films that are overperforming in dramatic fashion.

“Obsession” keeps growing, weekend after weekend. “Backrooms,” opening now, could make as much as $80 million.

Or more.

Those films don’t directly compete with “The Breadwinner,” a family-friendly comedy that should be able to carve out space for itself.

So far, not so good.

The critical reviews aren’t helping. “The Breadwinner” wasn’t screened for Denver-based critics. The rest of the country isn’t exactly enamored of the film. The Rotten Tomatoes score is currently 29 percent “rotten.” 

It’s not just a problem for Bargatze. Fellow stand-up superstars have struggled to make the leap to the big screen. Sebastian Maniscalco’s “About My Father” crashed and burned two years ago. It opened with $4.3 million and stalled out at $12 million.

Bert Kreischer’s “The Machine” also couldn’t draw traffic, ending up with $10 million US.

The upside for Team Bargatze? It’s summer, and parents will be eager for clean, family-friendly fare with oodles of air conditioning. Plus, that 85 percent “fresh” rating at RottenTomatoes.com from general audiences could spark serious world of mouth.

He may dress like a suburban dad, but Bargatze’s “Breadwinner” could have serious legs.

What’s your favorite Bargatze bit?

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‘Pendragon Cycle’ Lands Shocking Canadian Nomination

Pendragon Cycle Rise of the Merlin review Rose Reid gladiator

Matt Walsh’s Oscar campaign for 2024’s “Am I Racist?” proved a tongue-in-cheek affair.

The Daily Wire pundit knew Hollywood would never consider his documentary for such an award. The Oscars rarely honor movies that share a right-leaning perspective. And “Am I Racist?” delivered a nasty uppercut to the flailing DEI agenda.

A separate Daily Wire original had better luck this week.

“The Pendragon Cycle: Rise of the Merlin” showed the conservative platform could deliver a smart, soaring fantasy series, the kind we expect from a mainstream platform like Hulu or Netflix. Creator and executive producer Jeremy Boreing’s passion project bowed earlier this year to strong reviews and positive reaction.

The sprawling story blends action, adventure, Christianity and magic in a compelling, seven-part series. Now, co-star Colin Cunningham, who plays Vortigern in the series, has been nominated for Best Lead Performance in a Dramatic Series by the British Columbia group.

“We set out to tell a story told with real ambition and genuine care, and to see it recognized is deeply gratifying. Colin Cunningham brought to Vortigern a gravity and a grief that anchor the entire series, and he deserves this honor and many more. Congratulations to him and to our entire team who believed in it,” said Boreing in a statement exclusive to Hollywood in Toto.

Conservative artists face chronic discrimination in the arts. An unofficial blacklist forces many to keep their right-leaning views private less they face professional recrimination.

Just this week, several musicians were bullied into pulling out of a patriotic concert due to its nebulous ties to President Donald Trump.

Celebrated author and podcaster Andrew Klavan predicted that his conservative beliefs would make it far less likely for him to win literary awards as he had in the past. And he was right.

Any time a right-leaning project snags a nomination, let alone an award, is newsworthy now.



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‘Star Wars’ RIP? ‘Mandalorian’ Plummets, ‘Backrooms’ Soars

The weekend’s box office numbers doubled as a baton-passing moment.

  • Out with the old – a moldy film franchise razed by its corporate overlords
  • In with the new – a generation of storytellers weaned on YouTube 

“The Mandalorian and Grogu” plummeted close to 70 percent in its second frame, falling behind two movies with a combined budget of $11 million.

Maybe less.

The first “Star Wars” film in seven years couldn’t even replicate the box office totals from “Solo: A Star Wars Story.” That film proved the franchise’s creative and commercial nadir.

Now, “The Mandalorian” holds that dishonor.

Meanwhile, a pair of indie horror films dominated this weekend’s release slate. “Obsession” grew another 19 percent from its previous week, according to Deadline.com.

That. Just. Doesn’t. Happen. Yet it happened.

Again.

Those stunning results took a backseat to “Backrooms.” The directorial debut of 20-year-old Kane Parsons was expected to earn a whopping $20 million just a few short weeks ago.

Except the box office predictions kept growing, and growing. Last week, experts envisioned a $25-33 million opening.

The reality? Deadline.com reports the film could land between $85-88 million.

Stunning.

Hollywood has been very afraid of where the theatrical model will go over the next few years. It’s an understandable concern.

Ticket sales have slumped in recent years. Gen Z types seemed cozier watching movies on streaming platforms or their tablets than going to a theater.

The films released of late felt inadequate, either too creatively safe or just plain woke. This year, things are changing. Consider the early list of 2026 blockbusters:

  • “Project Hail Mary”
  • “Hoppers”
  • “Scream 7”
  • “Michael”
  • “The Super Mario Galaxy Movie”
  • “The Devil Wears Prada 2”

Hit after hit after hit. And now, two horror films are crushing the competition. What changed?

It helps that both Curry Barker (“Obsession”) and Parsons (“Backrooms”) were weaned on social media platforms like YouTube. They took full advantage of the video platform to build their storytelling chops and connect with audiences.

They’re young enough to grasp what Gen Z craves while growing a fan base.

Disney’s “Star Wars” represents something different, an older model that may have outlived its usefulness. Its creators mock the fan base, ignore canon and think throwing a few dozen Easter eggs on the screen will build brand loyalty.

To quote Tim Robinson, “Are you sure ’bout that?”

This new Hollywood may not have enough room for movies like “The Mandalorian and Grogu.” It’ll embrace young visionaries eager to lure audiences back to the cineplex.

Just ask Barker, who was offered $10 million for his next film (without a single hint of what it might actually be).

 

 

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Adam Carolla: Hasan Piker is a ‘Luxury Communist’

Hasan Piker is the Left’s Flavor of the Month. Let that sink in.

Never mind his rageful rhetoric, from saying America deserved 9/11 to embracing political violence. That’s just the tip of the hateful iceberg.

Piker has expressed explicit support for U.S-designated terrorist organizations such as Hamas, the Houthis, Hezbollah and the Popular Front for the Liberation of Palestine (PFLP) on numerous occasions. He has also falsely claimed that the well-documented sexual violence committed by Hamas and other terrorists on October 7, 2023 did not take place. Piker’s casual and frequent assertions of support for terrorist groups and the violence they commit normalize the use of violence to his millions of followers.

Progressives are looking past that, hoping Piker’s click-worthy shtick will boost their party’s chances in 2026 and beyond.

Ghoulish barely describes it, and we’re sure Stephen Colbert would have skewered Piker’s hateful commentary had his show not been canceled earlier this month.

Yet Adam Carolla and his “crystal brain” see right through Piker’s pose. The podcaster and Dr. Drew Pinsky shredded Piker’s shtick on “The Adam and Dr. Drew Show” podcast.

It wasn’t pretty. Just necessary.

The pair didn’t further expose Piker’s violent musings. They skewered his bogus economic theories with ridicule and facts.

They played audio of Piker slamming Amazon founder Jeff Bezos, one of the world’s wealthiest men. He didn’t earn it nor deserve that kind of wealth, Piker alleges. He simply got “lucky,” was in the right place at the right time and needed all his Amazon employees to make his wealth possible.

It’s dumb on the surface, and insipid upon rudimentary inspection. Yet Democrats like Rep. Ro Khanna, Sen. Bernie Sanders, Rep. Alexandria Ocasio-Cortez and New York City Mayor Zohran Mamdani flock to Piker’s side to soak in his alleged wisdom.

And, presumably, to curry favor with people who embrace his unabashed hate. The Legacy Media, which is corrupt to the core, has yet to press any of these prominent figures about their Piker adoration.

“Embedded in here is a disdain for and a lack of understanding of ownership and, once you dig further, even property,” Dr. Pinsky said of Piker’s commentary. “You’re not supposed to have property.”

The podcasters noted that while Piker will call out folks like Bezos and Elon Musk, he’s far less vocal about other billionaires, think George Soros, Gov. J.B. Pritzker and wannabe California Gov. Tom Steyer.

Hmmmm.

“How does this reasoning figure into the money that Nancy Pelosi and AOC have … they have hundreds of millions of dollars, some of them,” Dr. Pinsky said. “Did they work hundreds of millions of times harder than the people who paid the taxes?”

“He continually leaves out his heroes,” Carolla answered, noting the partisan games in play.

Dr. Pinsky then called out Piker for his blatant hypocrisy.

“How does he explain the money he’s making, sitting behind a microphone?” Dr. Pinsky asked. Online estimates suggest Piker could be worth as much as $8 million. “Does he work a hundred times harder [than other people]?”

Carolla boiled it all down.

“I knew [Piker] was dangerous and I knew his rhetoric was s***, but I didn’t know he was a dope. This proves he’s a dope,” Carolla said. “These people are Communists who hate this country, that’s about it. They’re luxury Communists … they’re not living the life of a Communist.”

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